The opening title is exactly like an opening title Buster Keaton or Harold Lloyd would've used a few years earlier, which to them is flattery.
This little fragment is really just gags that two guys can come up with a little kid, which does carry the Ozu theme of watching people in relationships. But it's mostly just silly.
Alternate Title: Thank You For Smoking.
Poor Brasil. World class in resources, world class in culture, music, and futbol, world class in blending African, Asian, and western traditions into a smooth samba that's works.
If only you could get a freakin break as a democracy and get rid of creeps like Bolsonaro.
STUDENT FILM. I KNOW. I'VE SEEN HUNDREDS OF 'EM. I TAUGHT 'EM FOR DECADES.
AFRO-FUTURISTIC RULE #9: IT IS POSSIBLE THAT BLACK PEOPLE ARE NEO-NOIR AGENTS FROM MORE SOPHISTICATED PLANETS.
It's so short and limited on production values to really build compelling characters, action, or themes, but we're clearly seeing a mix of a sci fi Alien Agent concept with some noir elements: though the magnifying glass seems a tad on the nose, and even in 2001, no one was using a manual typewriter like Sam Spade. Good concept. It needs a fuller script to fill out characters, settings, and plot.
Clearly, George Clinton owes Bobby Brown money, so Bobby made this hatchet job entirely of clips of band members, sometimes describing the music and the atmosphere that eventually all come around to getting turned onto drugs by George and robbed of money owed.
I don't doubt some or all of this is true or even that surprising. There's even a corresponding regal quality of some African monarchs that treat their underlings poorly--as is also true of greedy men everywhere.
And I thought it was worth watching once.
This review may contain spoilers. I can handle the truth.
TRUFFAUT CASHES OUT OF ANTOINE BANK:
I grew up in art houses with Antoine Doinel almost in real time though he's a decade older than I was and French. So I was very devoted to going to little theatre, sipping mocha lattes, and being absorbed into his charming world of Paris.
But this "conclusion" of the series is very unsatisfying and really just amounts to a "clip" show of earlier scenes with a frame of his divorce and new frolics.…
YA SAY YA WANNA A REVOLUTION:
This film is 70% pedantic attempts at polemics in white rooms against western consumer and colonial culture with volumes cut in and out, goofy attempts at Maoist costumes--everyone smokes and wears Chinese caps. And oh yeah. Lots of little red books.
This must've been fun to do.
It was tedious to watch.
There were a few outdoor settings that were lovely and evocative, but since this is an essay and political discussion, it's mostly…
Lasting Image: Anna Karina's face, having to do love scenes with this toad.
PLOT: Sci Fi with no budget for props, costumes, or settings. It's Blade Runner 15 years earlier without any smoke.
PLOT: Solid sci fi plot
Anna: Always a plus for any film. She shows she can handle the tough chick thing in a sci fi film.
PEDANTIC GODARD TONE: Again. We know you're smart, Godard. But you don't need to advertise it.
LACK OF SETTINGS…
Lasting Image: Anna Karina's face, as always. She and JLG are not yet in love, and she's still finding her way in this film. But she's still lovely and evocative.
Plot: Stock Spy Thriller with love tangle tossed in against a backdrop of the Algerian war for liberation.
Anna Karina. She's still young, tentative and uncertain here: Godard doesn't quite yet know what to do with her, but she's irresistibly coy with turns of boldness. And those eyes.