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97 of 102 people found the following review helpful:
5.0 out of 5 stars
In regards to Alphaville's full screen 1.33:1 format, May 4, 1999
Like the reviewer above, I was puzzled as to why Criterion would release this film in full frame format when everything else about the edition seemed so meticulously struck, so I thought other people might be interested in Criterion's explanation as to ask why this DVD copy was in the full frame format. Even though Criterion released the so called widescreen edition previously (1.66:1 letterboxed), each time they re-strike a new product, they will continually consider how the specific movie is supposed to be seen. What I was told was that even though most Europeans probably saw the 1.66:1 widescreen version in the theaters when it was released, it was their belief through a lot of research and interviews, that Godard framed, and meant for the film to be in 1.33:1 - and it was the releasing company that decided on the 1.66:1 format themselves. They told me at Criterion, that neither is necessarily wrong, but that they decided to go with what they believed most suited the vision of it's maker. I bought the DVD after hearing their explanation, and you will most likely agree with them when you view this version. From the balance of titles and words on the screen, to the way that shots are constructed (such as a sequence which is obviously intentionally composed of only gesturing hands on the edge of the frame during a conversation) I think their argument is right on the mark. Remember in this season of widescreen fever, it shouldn't be widescreen for the sake of widescreen, but to present the thing the way it was intended to be seen.
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20 of 21 people found the following review helpful:
5.0 out of 5 stars
More on that Aspect Ratio, January 14, 2000
On the aspect ratio. I think Steve Rose, below, is absolutely right. I have the widescreen VHS and the Criterion DVD and have run them together and the DVD is obviously giving the full print image. The W/screen tape is only widescreen because it crops the top and the bottom of the image, giving a very cramped composition to every shot. The DVD has a precision of framing that is always spot-on (as one would expect from Raoul Coutard). Not only that but the VHS tape is washed out; it lacks strong blacks, and has next to no contrast - an important feature in a film that is an hommage to American film noir. The DVD is, all up, a model of care and committment to a wonderful movie. Now we can see it as Godard intended. (In particular, we can again see clearly that the synchronised swimmers are stabbing the executed men to death - something that is not obvious on the VHS tape.) This DVD is still listed as widescreen long after they have had it pointed out to them that it is not! As are many of the other films. Buyer beware!)The film itself probably needs no further introduction. It is a beautiful and sad *comedy* on humanity and Humanism, touched, as all Godard's films of this period were, by his tangible love for Anna Karina - whom he photographs as if he were trying to remember forever. The poetry of Paul Eluard is used to wonderful effect in her awakening, and the film is filled with brilliant visual humour - like the swimmers, mentioned above. A stunning film, and one that seems even more daring and original now than it did when it came out - a sad reflection on the current state of cinema, where even alternative films are trying so hard to please.
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17 of 18 people found the following review helpful:
5.0 out of 5 stars
Might help us catch up a little with Godard!, November 29, 2001
Published screenplays should be as irrelevant to the film lover as instructions on the side of self-raising flour are to the gourmet. At best, their interest is limited to scholars and researchers. In the case of Jean-Luc Cinema Godard, however, they are a godsend. Godard's films are so dense, even simply on the verbal level, with allusions, philosophical ideas, aphorisms, puns, complex jokes etc., it is impossible to take them all in during a single viewing. Publishing a screenplay like 'Alphaville' (a sci-fi/detective thriller in which a totalitarian, technocratic regime run by a HAL-like computer is overthrown not by weapons or physical skill, but by a book of Surrealist poetry (Eluard's 'La capitale de la douleur')) is therefore invaluable, and allows us to return to the film more open to its visual astonishments. As was common with the director, Godard didn't actually work from a completed script; this verbatim transcript from the finished film was originally made to facilitate sub-title work. This edition contains a fine introduction by French cinema specialist Richard Roud, explaining some of Godard's visual sources and the 'ethical' meaning of his stylistic choices (the circle is evil, etc.); over 30 stills and photos from production; and Godard's original treatment (entitled 'A new Lemmy Caution Adventure'), which is fascinating to compare with the finished masterpiece, as well as revealing how completely different the concepts 'story' and 'mise-en-scene' are for Godard.
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