Alphaville Page #2

Synopsis: Lemmy Caution, an American private-eye, arrives in Alphaville, a futuristic city on another planet. His very American character is at odds with the city's ruler, an evil scientist named Von Braun, who has outlawed love and self-expression.
Genre: Drama, Mystery, Sci-Fi
Director(s): Jean-Luc Godard
Production: Rialto Pictures
  1 win.
 
IMDB:
7.2
Rotten Tomatoes:
90%
NOT RATED
Year:
1965
99 min
Website
3,022 Views


At the end of Galata Bridge

one finds the Red Star.

My place.

You can't compare it

to our splendid

galactic corridors

all a-glitter with

luxury and light.

It's only a vast labyrinth,

tall, cramped.

Is this the Red Star Hotel?

Yes, it is, thank you.

- Is Mr. Dickson in?

- He's out.

Fine, I'll wait.

You have money, sir?

You can have a seat, sir,

if you're tired.

I wanted to see it again,

the tomb of

the Duc de Montpensier.

The reclining statue

of the Prince

is the work of Pradier.

The Prince wears

the costume of...

Henry, it's me!

We've got plenty to talk about.

- Where's my key?

- Where's my money, Mr. Dickson?

- My key.

- His key.

And a beer.

And me?

Why don't you hurry up

and commit suicide?

We need the room for our cousin

from the south.

You come from the Outlands?

Why did he ask

if you'd commit suicide?

There's quite a few...

There's quite a few who do.

One can't adapt to this place.

It's the method

the Chinese invented

about thirty years ago

in Pekingville.

Dissuasion is their strong point.

What about those who won't adapt,

or commit suicide?

- Those... they're executed.

- Yes, the authorities.

But one can hide, you know.

There aren't many left.

Dick Tracy, is he dead?

And Guy Leclair?

Why didn't we hear from them,

or from you, Henry?

I'm sorry.

These things happen.

And what's Alpha 60?

A giant computer, like they used

to have in big business.

Nueva York... IBM...

Olivetti... General Electric...

Tokyorama...

Alpha 60 is one hundred and fifty

light years more powerful.

I see. People have become slaves

of probabilities.

Their ideal here, in Alphaville

is a technocracy, like that

of termites and ants.

I don't understand.

Probably one hundred and fifty

light years ago.

One hundred and fifty,

two hundred

there were artists

in the ant society.

Artists, novelists,

musicians, painters.

Today, no more.

Nothing. Like here.

Has Professor Vonbraun

organized it all?

He obeys logical orders.

Then why didn't you kill him?

"Why"... what does that word mean?

I forgot...

You know his daughter, Natasha?

Who is she really?

It was him they sent

to Los Alamos.

His name wasn't that then.

Answer! That wasn't his name

in those days.

Listen, Henry.

We'll get out together; you'll

be OK. But first you must...

It's a terrible secret, but...

Come in, Madame la Marquise.

My coat, Madame Rcamier.

Thank you, Madame Pompadour.

Madame Bovary, Marie Antoinette.

Madame Lafayette.

Madame, it's love.

I'll say it in Russian.

So young and me.

Lemmy... conscience...

Alpha 60... make...

self destruct...

Tenderness...

Save those who weep.

Yes, yes, that's it.

The Capital of Pain.

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Jean-Luc Godard

Jean-Luc Godard (French: [ʒɑ̃lyk ɡɔdaʁ]; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He rose to prominence as a pioneer of the 1960s French New Wave film movement.Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality", which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation." As a result of such argument, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema. In 1964, Godard described his and his colleagues' impact: "We barged into the cinema like cavemen into the Versailles of Louis XV." He is often considered the most radical French filmmaker of the 1960s and 1970s; his approach in film conventions, politics and philosophies made him arguably the most influential director of the French New Wave. Along with showing knowledge of film history through homages and references, several of his films expressed his political views; he was an avid reader of existential and Marxist philosophy. Since the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, and a Marxist perspective.In a 2002 Sight & Sound poll, Godard ranked third in the critics' top-ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He is said to have "created one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century." He and his work have been central to narrative theory and have "challenged both commercial narrative cinema norms and film criticism's vocabulary." In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired many directors including Martin Scorsese, Quentin Tarantino, Brian De Palma, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, and Pier Paolo Pasolini.From his father, he is the cousin of Pedro Pablo Kuczynski, former President of Peru. He has been married twice, to actresses Anna Karina and Anne Wiazemsky, both of whom starred in several of his films. His collaborations with Karina—which included such critically acclaimed films as Bande à part (1964) and Pierrot le Fou (1965)—was called "arguably the most influential body of work in the history of cinema" by Filmmaker magazine. more…

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Submitted on August 05, 2018

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