MoPoshy
Absolutely brilliant
Kaydan Christian
A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.
Staci Frederick
Blistering performances.
Mahmood-Buttrumps
Now we have a movie that has the look of the old Twilight Zone movies created by Rod Serling. This might have been good for a late 1950's movies but today the look is much different especially for "Star Trek and "Star Wars". Remember Jean-Luc Godard can be very cerebral.He doesn't specialize in Science Fiction. That's why there isn't the action one expects to find. Cerebral films usually appeal to the critics but not to the average person.I could not give the film more than a 9.5 star rating. See the film and form your own opinions.
LeonLouisRicci
An Audacious Amalgamation of Literature and Film, Goddard's Movie is bursting with Pop Cultural references. With a Philosophical Conceit, a Very Low-Budget, and Unlimited Energy from the Director, the Film was extremely Derivative and Influential. No Mean Feat.There are Incomprehensible Things, like one would likely Find in the Future, much of it doesn't make a whole lot of linear sense. The Hero (Detective, Secret Agent, Journalist), plucked Iconically From Film-Noir, says He drives a Ford Galaxy. It's actually a Mustang.This is a Tongue in Cheek Homage and its Strength is the Sharp, Flashing, Expressionistic Sets and Lighting. The Director's Expressionism comes from within the Camera and Not From SFX.There is much to Take In from "Alphaville". You can siphon Nuggets almost Everywhere and Constantly, and its Blend of Styling, both Literary and Cinematic, are that of Sci-Fi, Film-Noir, Comic Books, Orwell, Kafka, Welles, and others. It's Goddard's Bouillabaisse. A Tasty Treat of Film-As-Art. Stimulating, Bizarre, Unique, Avant-Garde, Funny, and Entertaining.
Hoagy27
Why am I watching this silly movie? I knew it was silly the first (last) time I watched it forty thousand light years ago (as they say in the movie). I never even liked Godard very much. So why have I decided to watch a trio of his films? Who knows what reality is? Is Godard a pretentious Frenchy innalecktual? Am I an effete Ugly American? Why are we born only to suffer and die? What is the meaning of humanity. No, wait... truth is.....BANG!... arrrghhhh! Thunk.Once more to make the 10 line minimum:Why am I watching this silly movie? I knew it was silly the first (last) time I watched it forty thousand light years ago (as they say in the movie). I never even liked Godard very much. So why have I decided to watch a trio of his films? Who knows what reality is? Is Godard a pretentious Frenchy innalecktual? Am I an effete Ugly American? Why are we born only to suffer and die? What is the meaning of humanity. No, wait... truth is.....BANG!... arrrghhhh! Thunk.
antcol8
I am really afraid to say anything negative about this film, given the incredibly low level of critique demonstrated by the people here who didn't like it, but...I have never thought that this was anywhere near the best of his '60s films. But I jumped at the chance to see it on the big screen again yesterday. I hoped to revise my opinion. Which I did not.People who do not understand why the Paris of the moment when the film was made is used to represent a future dystopia should be condemned to never watching a film outside of the Mainstream ever again. The point is blindingly obvious: dystopia is all around us. Using music and lighting and camera movement to represent that, rather than relying on triumphantly gaudy and expensive production design, shows that Godard is a filmmaker down to the tips of his toes. He learned so much from the American directors who had no recourse to expensive sets and had to use shadows and fog...I'm thinking of Lang on Man Hunt, Mann on G - Men. Of course, Ulmer on Detour, etc.All this is amazing. And there are great set pieces (the swimming pool, for example). And the use of the same couple of bars of music, over and over, is great, too.Look, I don't need to believe in the relationships and the ideas in Godard films in order to enjoy them. Karina and Constantine was perhaps a very inspired mismatch. And I've read and studied lots of Brecht. But Alphaville just doesn't SWING for me the way most of the others from this time do. But, you know what? I'm going to watch it again.
