Alphaville (1965)

Transmogrifying a nocturnal Paris into the dystopian titular state ruled under the technocratic totalitarianism of a sentient, omnipresent mega-computer called Alpha 60, Godard's Golden Berlin Bear winner, cunningly configures the time-honored one-man-against-the-machine trope with a novel spin, devises a Sci-Fi mise-en-scène without the usual tailor-made props, and in lieu seizing on futuristic Parisian architecture-scape to create the galaxy-away alienness while philosophizing his ideology of what differentiates men from logic-abiding super-machine.American crooner-turned-actor, the tough-looking Eddie Constantine plays Lemmy Caution, a role he had played numerous times before in French B movies, being appropriated by Godard here as a secret agent from "the Outlands", infiltrates Alphaville as a journalist with a hard-as-nail aggression, also a shutterbug pertinaciously snaps the menagerie of its societal pathology, after seeking out a missing agent Henri Dickson (a jaded Tamiroof adds a layer of gnomic improbability upon the carnal decadence), whose total capitulation prompts him to exact his ultimate mission: to emancipate the city from the thralls of Alpha 60 and its alleged maker Prof. von Braun (Vernon).Whisking Lemmy in and out sundry locations and peppering up the story-line with Godard-esque action fragments, jerky, spontaneous, whimsical and inconsequential, the hotel room scuffle in the opening is such a nonsensically "un-real" incident that one might question its occurrence when a broken window on the door appear intact in the next scene, ALPHAVILLE is Godard's knowing deconstruction-and-reconstruction of the venerated genre of its prescient-then, blasé-now central message, drawing on a faintly Borgesian inspiration to sound off in the traditional duality between the hero and the damsel-in-distress, here portrayed by Anna Karina's Natacha von Braun, supposedly, the daughter of Prof. von Braun, whose suppressed emotions are slowly awoken by Lemmy's ongoing interference, and "conscience" is the operative word here.Dubbed with a gruff, mechanical, halting male voice, Alpha 60 exchanges many a colloquy with Lemmy covering a wide scope of topics, a verbal spar between rationalism and denialism, larded with Godard's protean experimentation of his cinematic languages (jump-cuts, negative prints, repeated motifs have long become Godard's norms) and Paul Misraki's fittingly atmospheric incidental music, ALPHAVILLE alternatively, intrigues, bemuses and entrances an armchair spectator with its anti-utopia cognition and blithe distinction that is snugly in Godard's elements, and this agglomeration of nouvelle vague and futuristic noir may also archly suggest that audience should not ask "why", but only say "because" in the context of a Godard-ville.

"Something's not in orbit in the capital of this galaxy." Secret Agent Lemmy Caution has the mission of infiltrating the technocratic society of Alphaville, controlled by a supercomputer ordering its citizens through various methods (including violence and indoctrination) to incorporate logic instead of emotion in every part of their everyday lives. Can a riddle of poetry from Caution be the key to undermining this computer, Alpha 60, and halting their plans to obliterate any other "galaxies" (cities, societies) not in line with their "religion of logic"? I have to admit that "Alphaville" isn't one of my personal favorite Godard films, but I see why it is highly regarded. To me, the photography is its greatest asset. Wisely, to make sure that his vision of Alphaville being a futurecity, Godard shoots almost exclusively at night. That the way the architectural design of certain buildings favors possible cities of the future in 1965 on the inside, allowing us not to recognize that Alphaville is just Paris going through "an architectural renaissance" thanks to nighttime photography only emphasizing its windows and brief examinations of certain exteriors of the selected hotels and Alpha 60s "control centers" where Caution visits cleverly allows Godard to get away with a sci-fi film succumbing to noirish sensibilities. That an "outsider" (those who arrive in Alphaville are considered "from the Outlands") can pollute the mechanical operation of life for the people of Alphaville through using intellect (that is the irony of the city's downfall) to inject a virus so that it self-destructs amused me to no end.I just think that a film which shows a society robotic in its movements, ideology, and functions day to day due to the influence of logic, including a hero which really acts and behaves, ironic enough, similarly, without much fire in the direction or plot to energetically show us their defeat—directed in logic, mechanically by Godard—could be a detriment to the message supposedly conveyed: that love and emotion, freedom, are key to us each as individuals, thinking for ourselves, living for ourselves, allowed to dictate our own lives without the need of control over how and *why* we feel and operate as we do. That Alphaville's sheep fall into decline once Alpha 60 is debilitated by Caution's influence (those working in the control center think that Caution can help them defeat the Outside galaxies they're up against), spinning around or clutching to structures, seemingly unable to move or function without *guidance* does comment on the need to be individuals instead of under the control of any higher superior (government? Corporate entity? Religious philosophy?). All we need is love. Love is all we need.Eddie Constantine made a living out of Mike Hammer tough guy noirish anti-heroes, and he doesn't stray from that in Alphaville. He shoots those that threaten him, and in an early scene Lemmy batters an Alpha 60 stooge sent to incapacitate him in his hotel room. He incapacitates another stooge who tries to stab him in an elevator. Another instance, he roughs up yet another Alpha 60 agent, eventually running over his head! As this is a Godard film in the early-to-mid 60s, Anna Karina is a major part of the plot. She's the daughter of the creator of Alpha 60 (Jess Franco alum, Howard Vernon), eventually a romantic love interest of Caution. Caution needs to talk with her father, perhaps kill him if he continues to work in concert with the computer to execute dangerous plans for other "galaxies". Karina could be argued (or agreed) by cineasts as one of the key actresses working in the early 60s in the world. Her work with Godard offers an impressive package of characters, allowing her a lot of freedom and range due to the content and room to improvise. Plus, she always looks fantastic and it never is a surprise the camera worships her. Godard obviously understood what he had with her, even if their relationship was volatile. Their output together, a string of successes that live on to this day, during this period of passion and volatility continues to hold up rather well, even if a product of its time. I won't lie, though, as this is such a clinically, dry, and matter-of-fact approach in its direction, I had a hard time really latching onto it. It is really nice looking, like its lead actress in it. Godard had learned from the masters; the noirish influence is alive and well.

I have to say that the contributors who have addressed either "factual errors", "technical goofs", or otherwise apparently have little familiarity with the overall work of Jean-Luc Godard. This guy is not the least bit concerned with the standard questions of continuity, factual and contemporaneous representation, plagiarism, or almost any other standard which envelopes Hollywood films - indeed, he has spent his career demolishing these standards. Just a cursory glance at the filmic and literary references throughout the film should make it apparent: Professor Vonbraun, who was originally named "Leonard Nosferatu", Heckell and Jeckell, Dick Tracy! What more do you need to recognize that Godard will steal from anyone and anything, will deliberately obfuscate, will twist anything to his purpose... which is perhaps never entirely clear to anyone, maybe not even the director himself.

Definitively I and Jean-Luc Godard don't get along with each other in what concerns films and filming. I didn't like any of his films I have seen previously and didn't like this one either. What does it mean and what does he want to communicate or say to us in all his films? Is he serious or is he just kidding with crime or science-fi or even love stories? Does he want to pass on any message to us? Which is it? I am not so stupid but if he is considered one of the best movie directors of our times by most responsible critics maybe the fault is mine. This movie takes place in Alphaville, a supposed extraterrestrial town in some exterior galaxy but that looks like any current town or city in this world like New York or Paris for instance, peopled by apparently normal people normally dressed. Some scenes are quite ordinary, some dialogues too but some others show very odd behaviours and incoherent talking. You travel out of the galaxy by car and by road for instance. Which codes and symbols is Godard recurring to? He once said: To make a movie we only need a gun and a woman. Is this the answer maybe?