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For Ever Mozart
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Instead, we're firmly in what we might call Godard's "aesthetic phase." This has two meanings. The first is that we're in the era of Godard's increasing obsession with the beauty of nature. For Ever Mozart gives us some lovely images to look at. Godard is a master of framing, and the theatrical plot gives him every excuse to provide us with striking tableaux. The other important meaning behind "aesthetic" in this case is a reference to philosophy, which also increasingly occupies Godard throughout the eighties and nineties. From his dialogue—which often sounds like a philosophical text—to his allusions to philosophy, For Ever Mozart draws on and explicitly references a host of other cultural artifacts to fuel Godard's reflection on cinema and Sarajevo. Godard demands that we follow him, catching what allusions we can, forming the pieces with our ability to take in the beautiful imagery, and ultimately piecing together a film that is as much our film as Godard's.
Looking back, I think critics have dismissed For Ever Mozart for being Godard-by-numbers. It has all the things we expect from Godard except something surprising.Read more ›
"For Ever Mozart" is as good as any of Godard's famous 60's films and better than many. It is a beautiful meditation on the value of art, film and music in society and well worth owning for any cinephile.
Yes, this is a good Blu Ray transfer and probably for many people the only available version of For Ever Mozart, but sometimes I wish Cohen Media would try a little bit harder with their subtitles. I have Hail Mary from Cohen, too, and some Resnais films, and in every one the subtitling is so lazy and frustrating, and this is no exception.
Not only, for some reason, have they decided to not transcribe any of the names (for example, "It's Jerome, or it's Camille," is provided as "It's him, or it's her," when neither Jerome nor Camille are indicated in the image to make this an excusable omission), which can easily be missed when you're watching a Godard movie and trying to read the subtitles, see as much as you can in the image and montage, and take note of the background soundtracks. You have to have a lot of trust in the translators when watching subtitled Godard. Also, when characters (don't say, "But Godard has no characters" – each character has – in this film at least – an allegorical meaning to which their name is a reference) are mentioned later in scenes in which they don't appear, the pronouns again are used instead of names. Why? Malice, I guess, since I see no other reason.
Secondly, long phrases are cut down to be as short as possible in the subtitles when there is obviously much more in them than what has been translated. This happened too many times. Why bother subtitling if you're not ACTUALLY going to translate what is said?
It seems they asked themselves this question already, and took it the wrong way, which brings me to the third point: many long passages are simply not subtitled at all.Read more ›
Most Recent Customer Reviews
I didnt see this edition, but according to dvdbeaver this dvd's aspect ratio is not 1:33 but 1:66. There is a japanese dvd with optional subtitles that is 1.33, full frame.Published on April 18, 2010 by JB
While this film may have been a fun exercise for the director in constructing several narrative lines and some beautiful images, it is a muddled and disjointed film. Read morePublished on January 29, 2006 by Katrina
Godard's career is a difficult one to summarize or even to get a grasp on. After creating the seminal New Wave films of the Sixties we all know and love him for, Godard took a... Read morePublished on February 11, 2004 by Vinny Mac
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