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4.1 out of 5 stars
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Godard On Godard (A Da Capo paperback)
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on May 9, 2017
A pretty marginality poor printing job, and to be great you would need to have the movies close at hand. But reasonably priced and delivered quickly
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on September 8, 2013
This book came on time and in excellent condition. Highly recommend buying from this vendor again. Beautiful images of cinema history and all told through the film genius, the one and only==inimitable Jean Luc Godard. You get a taste of all the vast films that influenced and helped colored his own extensive oeuvre. His history as a journalist strongly influenced his success as a filmmaker and really the Nouvelle Vague (The French New Wave) movement.

I'm in love with this book as should anyone who loves film history, is a cineaste or cinephile. Highly recommended!
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on January 8, 2013
Finally, from this book, I begin to know deeper on Godard's ideas and films. He's a great man and this is a great book.
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on March 4, 2012
Godard on Godard
Edited by Jean Narboni and Tom Milne
With an introduction by Richard Roud
New foreword by Annette Michelson 1985
Da Capo Press
Unabridged republication of 1972 edition
Copyright © Editions Belfond, 1968
English translation copyright © 1972
by Martin Secker and Warburg Limited
New foreword copyright © 1986 by Annette Michelson 1985.

Still as important as when it was first put together, carefully selected and meticulously translated, annotated, reprinted. Miss Michelson (NYC) sets new mega co-ordinates in 1985, which deal with giga and meta critics and critiques of the period between the publications, and are mostly redundant. The selection and editorial work of Narboni (editor in Chief, Cahiers du Cinema), Milne and Roud (both noted British film critics and publishers) still of the first order; the translation is impeccable, long a rare treat!

Covers all "my" Godard, the critic and the film maker, up to my border at the end of Weekend, where the FLSO (Front de Libération Seine-et-Oise) takes over and cannibalism sets in. I have seen all his other films as well, but not seen them very often again - as against all his early ones, starting with Charlotte et son Jules, which remain regular re-fa(i)re and re-past.

Because of excellent documentation by Milne, historical allusions - like to the peculiar production history of Pierre Kast's Le bel age, to the like for certain Hollywood directors/producers, to earlier ties with the likes of Cocteau and Melville - become clear. Little or no mention of the substantial role of Godards muses - Karina, Wiazemski, later Miéville. Generally also quite quiet about some of his constructed acid affronts, the major ones of them later, against François Truffaut, V'ra Chytilová, others - not that this defect make him a lesser cinéaste, but it still belongs to the picture of the man.

At some stage, Godard admiringly says of Truffaut that he had an analytical, exploratory, speculative brain as a critic and an eminently practical talent as a film maker. To Godard, every practical work is also exploratory, all his work, writing or making movies, is research. This phenomenon alone makes the book helpful complementary reading to otherwise fascinating viewing!

fbus13 - 5/1/2012
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on April 6, 2013
While I received the book in not the best of conditions, I appreciated the fact that they provided me a full refund on it. The book is very useful in that it provides valuable insights into Godard's methods and ideas about how movies should be made, at least for him. As for the seller, I would definitely do business with them again.
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on April 1, 2014
I have studied cinema and film theory, and therefore seen all of his films including the films he made with Jean-Pierre Gorin a.k.a Dziga Vertov Group, ... and must admit, that if one wants to understand and find out more about Godard, one better watch his films. The book's first half is a tedious read, painful at times due to the fact that Godard is a critic of the kind he will later on in his career loath, --namely the kind that is unkind and destructive in its criticism. Not that the films he criticizes are good, but having read books by filmmakers such as Antonioni, Tarkovsky, Buñuel, Wenders, Rossellini, Dovzhenko, ... even the beautiful book Ruiz wrote: vol. 1 (whose films are not exactly amongst my favorites), I have to say I am quite disappointed with what I think could have been much better and positive.
Admittedly, there are few highlights in the book, Godard's writing on montage and three interviews: 1) Renoir, 2) Rossellini and 3) Godard himself among them, and perhaps the last third of the book ... but the rest is not really worth the struggle. Watch his films, and read some good film theory, and you will be enriched way beyond this book. If you want to get a feel for the Nouvelle Vague, start with the "anthology" books of the Cahiers, by editors such as Jim Hillier or David Wilson.
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on January 31, 2000
I've just read the book and though it dragged at some points because I wasn't familiar with a couple of the films he was talking about it, the overall experience was uplifting. If you have the slightest interest in Godard and the New Wave read the book and get inside a New Wave director's head and see how he looks at films. The book contains a number of his Cahiers du Cinema reviews and articles, and some interviews he gave later in life. By the end of the book you finally begin to understand a little of how this genius thinks.
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Godard displays all his unimaginable masterful in this set of reviews originally written for Les Cahiers du Cinema in the far Fifties .

The charm , of this enfant terrible is present all alnog the text .

The reviews about Orosn Welles , Ingmar Bergman , Francois Truffaut , Mizoguchi and his favorite western Seven men from now of Budd Boeticher (I have not watched it) are specially revealing .

Acquire this book , because despite the fact you may argue these reviews are dated , constitute - and who denies? - a crucial period in the cinema story .
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on December 24, 1997
"Weekend (best pre-packaged volition)." -Premature Positivity
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