New York’s leading movie house for independent premieres and repertory programming
A nonprofit cinema since 1970
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New York’s leading movie house for independent premieres and repertory programming
A nonprofit cinema since 1970
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| PREVIOUSLY AT FILM FORUM |  |
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U.S. PREMIERE! NEVER ON TV, VIDEO OR DVD!
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Available at Amazon: EVERYTHING IS CINEMA: |
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| DONALD WESTLAKE (1933-2008) Donald E. Westlake, who, under his pseudonym Richard Stark, wrote the source novel for Made in U.S.A., died this past New Year's Eve. Click here to read a short biography of this mystery titan. Click here to read his obituary in The New York Times |
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To view slide show, roll your mouse over image below. |
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![“****" [4 stars] “Godard's 1966 Molotov cocktail of American pulp and Parisian paranoia, finally gets a proper theatrical run ... ESSENTIAL for those interested in watching the filmmaker take cinema to new levels of allusion and modernist game playing!” – David Fear, Time Out New York “Made in a spirit of insouciance, improvisation and fun... a time capsule whose half-strength doses of self-contradiction, self-consciousness and provocation remain surprisingly fresh... Anyone curious about the shape and status of Godard's work will want to seek out Made in USA, but there are also reasons for non-Godardians to make the pilgrimage. There is, for one thing, a pouting and lovely Marianne Faithfull singing an a cappella version of 'As Tears Go By,' There are skinny young men smoking and arguing. There are the bright Pop colors of modernity juxtaposed with the weathered, handsome ordinariness of Old France, all of it beautifully photographed by Raoul Coutard.” – A.O. Scott, The New York Times Click here to read entire review “OUT-AND-OUT GORGEOUS! Dense, playful, and surprisingly poignant... KARINA'S FINEST HOUR AND A HALF!” - Flavorpill Click here to read entire review “BEAUTIFUL, GOOFY, AND EXPLOSIVE! Anna Karina was never lovelier in dazzling color and scope and Godard's ultimate statement about his love/hate for the aesthetics/politics of American movies/life is an event to be savored and celebrated... HAS ALL THE ELECTRIC THRILL OF A RAUSCHENBERG PAINTING IN MOTION!” – Jonathan Rosenbaum “HARDBOILED, STYLISH FUN!” – Anne Thompson, Variety “GODARD AND HIS GREATEST STAR ANNA KARINA AT THE HEIGHT OF THEIR COLLABORATIVE POWERS!” – The Onion AV Club “ASTOUNDING! A tonic experience; its style is both vibrant and severe... But it’s also Godard’s most soulful movie. JLG was a prophet.” – Armond White, New York Press Click here to read entire review “A HELL OF A GOOD MOVIE!” – Cullen Gallagher, L Magazine Click here to read entire review “While the plot twists into Gordian knots, Coutard’s wide-screen cinematography never skimps on visual pleasures. From its red, white, and blue titles onward, the unabashedly Pop-era Made in U.S.A. presents an unsettlingly bright film noir en couleur. Dressed in her mod ensemble, Paula kills a man with her high-heeled shoe, leaving only a tasteful dot of lush red. Later, she searches for clues in a movie-marquee poster factory, wandering among oversize paintings of glowing families and glowering Nazis. The total effect is of a France invaded by Yankee pop culture and cold-war intrigue—mutated into a Franco-American hybrid,both vibrant and violent.” – Artforum Click here to read entire review “A GORGEOUS CINEMASCOPE PRINT! Simple notes give Made in U.S.A. an unexpected grace. None of Godard's other films are quite so buoyant.” – L Magazine Click here to read entire review “Godard unleashes a host of frenzies! Slapdash spontaneity and cartoonish Cold War skullduggery… With a color scheme of agitprop Mondrian, a background of blankly suffocating spaces, a barroom lesson in semiology featuring the young Marianne Faithfull’s a-cappella rendition of “As Tears Go By,” and a deluge of political rhetoric, Godard evokes a chaotic new world of deadly abstractions, artistic impasses, and insoluble conflicts. His luminous, longing closeups of Karina show who really was desperately seeking whom.” – Richard Brody, The New Yorker Click here to read entire review](made/quote1l.gif)
(1966) “Walt Disney with blood.” Trench-coated
Anna Karina arrives in Atlantic City
(apparently a provincial French town) to track
down boyfriend Richard P… (phone, plane
or car noise constantly blots out the last
name), only to find... And then the bodies
start dropping, amid encounters with the
mysterious, height-challenged M. Typhus,
his nephew David Goodis (a character, not
the Shoot the Piano Player author), Goodis’s
singing Japanese girlfriend Doris Mizoguchi,
characters named “Richard Nixon” and “Robert McNamara,”
while being shadowed by Jean-Pierre Léaud and László Szabó’s
“Paul Widmark,” with a break for a Hegelian bull session in
a bar, punctuated with the real Marianne Faithfull warbling
“As Tears Go By.” Made as a favor to his cash-strapped producer
Georges de Beauregard, and filmed simultaneously with
Two or Three Things I Know About Her,
this ostensible adaptation of a story by
American crime writer Donald Westlake
was Godard’s farewell to his muse/ex-wife
Karina, never filmed more glamorously, as
she changes from one colorfully Mod ensemble
to another, posed against starkly colored
backgrounds and shot (by New Wave legend
Raoul Coutard) in a succession of giant, haunting
close-ups. But it’s simultaneously an extremely
metaphorical and narratively disjunctive
treatment of the notorious disappearance/murder — still unsolved
— of exiled Moroccan leftist Mehdi Ben Barka and Godard’s
own way of suggesting a vast Cold War conspiracy. Dedicated
to “
