Forthcoming: Les Carabiniers

[Jason]

I recently saw this interesting and little-discussed Godard film and wondered what everyone thought of it.

I've been watching Godard's work in chronological order lately (revisting some, seeing others for the first time) and so far this and Le Petit Soldat, while not blowing me away like many of his more commonly recognized films, have still always been interesting and well worth my time.

David Sterritt notes that a lot of critics and audiences were and are frustrated by this film for its pacing and occasionally overlong scenes. So I'm interested to hear both sides.

Also, does anyone know what's cut out in 80 minute version (IMDb lists an 85 minute version) and why?

[stroszeck]

Les Carabiniers is a PRIME example of the perfect anti-war film as the new wavers defined it - Wasn't it truffaut that said something to the extent that scenes depicting war and violence even if they are anti-war would look somehow exciting and "sexy" and therefore defeat the purpose of the message? This one is bleak as shit and Godard never really steps wrong or goes for cheap emotions. Interesting little flick.

[domino harvey]

Also, does anyone know what's cut out in 80 minute version (IMDb lists an 85 minute version) and why?

I believe PAL-transfer speedup is responsible?

The film is the first Godard film with consciously unattractive leads (save the females, who hilariously make the DVD cover on the Fox Lorber edition), and for a director so capable of making a beautiful film, it can be distressing for those new to Godard to see him make an ugly film on purpose. All said, I'd rank this one somewhere in the middle of his oeuvre. The postcard scene ranks among Godard's best sequences.

[Michael Kerpan]

This was my first Godard film -- and I loved it. ;~}

[tryavna]

The postcard scene ranks among Godard's best sequences.

I suppose this is why I'll probably never entirely "get" the appeal of Godard. I found the postcard segment long and repetitive.

However, I love Le Petit Soldat. A brilliant movie and probably my favorite Godard. Very harrowing because of its low-key matter-of-fact style.

[montgomery]

This is one of my favorite Godard films. I'm not sure why it's not very thought-of. Certainly one of the great war films too.

[Jason]

The postcard scene ranks among Godard's best sequences.

I found the postcard segment long and repetitive.

My feelings are somewhere in the middle of what both of you are saying. I loved the scene in concept and initial execution but then felt ready to move on, although its bizarre extensive length does have its own absurd charm in retrospect.

Another thing that interests me about this film is how funny it is at times only to cut to stock footage of dead people. It was like someone cutting frames of Night and Fog into The Phantom of Liberty.

[David Ehrenstein]

This was Godard's biggest flop of the 60's. Barely lasted a week in its initial run. Cut to shreds by the critics, but defended by Cahiers. Very influential on Richard Lester (How I Won the War and The Bed-Sitting Room especially) and I wouldn't be at all surprised if the Monty Python gang know it.

Genevieve Galea is Emmanuel Beart's mother.

[orlik]

I also think this is a wonderful film, and can only think that it's neglected because it sits rather oddly in Godard's career at this point: its conscious charmlessness and alienating effect make it something of a downer amidst the generally rapturous, cinema-besotted films he was making at this point (Le Petit Soldat excepted). Somehow it feels like it should have been made later in the '60s. I remember seeing it as part of a Godard season and being glad that I took my date to see Bande a Part rather than this - Les Carabiniers might have killed any prospective relationship.

Personally I think the postcard scene is a superb payoff, and its excessive length makes it all the more absurd. Even some of the postcards ('Lola Montes') are funny. I suppose you could also extract from it lots of meanings about the usurpation of reality by images, the society of the 'spectacle' and so on: even war itself is presented as a set of stock images, etc - I don't know where I'm going with this, but there's something there...

There's another striking moment I remember involving a drawn-out shot of a rifle as a line of prisoners are executed, during a recitation of Mayakovsky.

[jorencain]

And the trip to the cinema is hilarious.

This is a great film, and I have nothing really to add to the discussion, unfortunately.

[orlik]

Also worth mentioning - someone I know pointed out that one of the soldiers is wearing an American GI uniform and the other a Red Army one. It's a while since I've seen the film so I can't really verify this, but if correct it adds another interesting dimension.

[hangthadj]

All said, I'd rank this one somewhere in the middle of his oeuvre. The postcard scene ranks among Godard's best sequences.

I forget what critic may have said this, I think it was the guy in the commentary on the Weekend DVD (or maybe it was even someone on this board, sorry if I am not giving correct credit), but I remember somewhere hearing, A lot of Godard films are very boring at points but you sit around and wait because eventually there will be a scene that is such an enormous payoff or so memorable.

That was the postcard scene for me in Les Caribiniers. As cliche as it may sound Godard is my favorite director I remember being disappointed for long streches during Caribiniers. It had it's moments, but something just wasn't there for me. It probably didn't help that I watched it in the same week as A Woman is a Woman either.

And then that postcard scene started. And initially I was smiling thinking, "Wow, that's pretty neat, didn't see that coming" and the further it went on the larger my smile got.

It's not one of my favorite movies of Godard's. And truth told I remember little of it outside of the postcard scene, but because of that scene I still look back on it fondly.

[vogler]

I forget what critic may have said this, I think it was the guy in the commentary on the Weekend DVD (or maybe it was even someone on this board, sorry if I am not giving correct credit), but I remember somewhere hearing, A lot of Godard films are very boring at points but you sit around and wait because eventually there will be a scene that is such an enormous payoff or so memorable.

I think that was Mike Figgis in the interview from the Weekend DVD.

I saw this film a while ago and for me it wasn't one of my favourite Godard films. I was a little tired when I saw it though and that may have affected my opinion. All the positive opinions on this thread have inspired me to watch it again and I'll probably like it a lot more the second time. This happened with Eloge de L'Amour - first time I hated it but the second time I absolutely loved it.

[montgomery]

I think Raoul Coutard actually said something similar on one of the DVDs.

One thing that's striking to me about this film is how hilarious it is, and how horrifying. I think it may actually be his funniest film, which makes the scenes of brutality, and the letters from soldiers more sickening. The strangest thing is that this is possibly the most effective war film I've ever seen. Unlike some of the other great films about war, I actually felt sick watching Les Caribiniers, but one could never say that the film exploits violence. The scene in the moviehouse not only references the earliest anecdote about cinema, but is a clever reminder of the way we confuse cinema and reality, and the postcard scene hammers that point in for about 10 additional minutes. I think it's a mistake to consider this a minor film. I think this is more effective than even a film like M.A.S.H in deconstructing the war film genre, and showing the absurdity of war through humor.

[Michael Kerpan]

I think it's a mistake to consider this a minor film. I think this is more effective than even a film like M.A.S.H in deconstructing the war film genre, and showing the absurdity of war through humor.

Agree completely. Both horrifying -- and all too funny.

[Jason]

The strangest thing is that this is possibly the most effective war film I've ever seen. Unlike some of the other great films about war, I actually felt sick watching Les Caribiniers, but one could never say that the film exploits violence.

I agree and feel the same way about the opening sequence of Notre musique, which I really loved.

[montgomery]

I also liked the opening sequence of Notre Musique, but that was about all I liked.

[solent]

The interviewer on CONTEMPT disc 2 aks Godard if the recent 'flop' of LES CARABINIERS affected him and Godard's reaction may surprise those who see him as cold and inscrutable. He was bothered by the fact that not too many people went to see his film because of his belief that films are made to be seen. I personally don't believe that Godard expected the general public to take to this film. It is an eclectic work but it still resonates today because mindless war is still around us.

Also check out [if you can] the Pennebaker film of Godard in NYC (1968) talking quite openly about his films (mainly MADE IN USA & LA CHINOISE) with film students. What comes across is an artist well aware of what he is doing and why.

[hangthadj]

Also check out [if you can] the Pennebaker film of Godard in NYC (1968) talking quite openly about his films (mainly MADE IN USA & LA CHINOISE) with film students. What comes across is an artist well aware of what he is doing and why.

Where can this be found?

[Gregory]

The film is the first Godard film with consciously unattractive leads (save the females, who hilariously make the DVD cover on the Fox Lorber edition)

Funny that you point that out because in the lavishly illustrated For Ever Godard, the only illustration of Carabiniers (aside from a small still of a firing squad) is a full-page production photo of Genevieve Galea and Catherine Ribeiro.

Is this film likely to get another DVD release anytime soon?

[Michael Kerpan]

Is this film likely to get another DVD release anytime soon?

I don't see anything wrong with the current release.

[Gregory]

I don't see anything wrong with the current release.

I have an aversion to yellow subtitles, especially on black and white films (and my French has gotten a bit rusty). It's not a big deal, but I was wondering.

[Noiretirc]

I thoroughly hated this film when I first tried it.

I saw something ugly, muddy, amateurish, lazy, infuriating.... Why didn't Mr Godard care anymore? I walked away. Then I tried again. Then I walked away again.

But it stayed in my head. I researched, and listened to the commentary, and tried again....

Mr Godard has balls of tungsten. He is absolutely, resolutely unafraid. This was a mere 4 years after all of the worldly accolades and attention for Breathless. I suddenly understood and appreciated all that he was doing. This was/is the ultimate fuck-you to all that YankeeDoodleDandy ilk.

I still hate this film. And I love you Mr Godard.

[jsteffe]

I don't see anything wrong with the current release.

I have an aversion to yellow subtitles, especially on black and white films (and my French has gotten a bit rusty). It's not a big deal, but I was wondering.

It's not just the subtitles--I remember it being similar to the Fox Lorber BREATHLESS disc in terms of having weak contrast, ghosting, etc. The film is not supposed to look "good," but I've seen it in 16mm and was fairly disappointed by the American DVD. I wonder if the French unsubtitled edition looks better?

[bunuelian]

Unless it's intentional, the current DVD also cuts off the hand-written intertitles, suggesting the entire thing is cropped. Hard to judge without another reference, though.

This is one of my favorites from Godard. I'd happily buy an upgrade.