If you're a fan of film, a cinephile, or took film classes in school, you probably did an entire section on the iconic director Jean-Luc Godard. You might have heard your film buff friends or professors show you why Godard is one of the best filmmakers to ever grace the big screen. And if you've seen any of his films, you would have to agree, which is why Criterion loves releasing his films under the brand.
His 1980 film, titled 'Every Man For Himself' was nominated for the Palme d'Or Award at Cannes that year and was almost nominated for Best Foreign Film at the Oscars that same year. Prior to 1980, Godard's films were very experimental in nature and mostly done and a very small budget with small name actors. Godard himself has said that 'Every Man For Himself' was like being reborn again, as this was considered his return to mainstream filmmaking with a decent sized budget and well-known actors.
While this film had those new aspects, Godard continued to revert back to his experimental ways with the use of movement and music, particularly using slow motion to elevate certain scenes. What Godard tries to convey and tell us with 'Every Man For Himself' is that no matter the choices you make in life or the paths you decide to go down, you usually end up looking after yourself only. Godard even said that a better title for this film would be 'Save Your Ass'. 'Every Man For Himself' plays out like three separate one-act plays that centers on a certain character in each act. We all know that Godard has influenced tons of directors, one of them being Quentin Tarantino, so it shouldn't be a surprise that each character here and story line cross paths at some point in the film, much like the characters did in 'Pulp Fiction'.
We meet Paul Godard, who is a filmmaker who has been having a long affair with a woman named Denise. This ultimately led to his divorce from his ex-wife. Since Paul is a moody son-of-a-gun, and doesn't want to put in the time emotional effort to make Denise happy, she decides she needs move out and live in the country. But Denise also struggles with leaving the unhappy life in the city that she knows in order to make a change for the better. Meanwhile, Paul tries to appease her, but at a distance, as he seems to sabotage himself and relationships, because he wants to be alone.
This is conveyed by his very unorthodox conversations and thoughts towards young girls, which is fairly creepy. Paul ends up meeting a prostitute named Isabelle, where after their session, she continues her evening of work with several other clients, who are not above abusing her. But she doesn't seem to mind her line of work or life. Even when her sister comes to town to look for help and money, Isabelle convinces her to become an escort instead of helping out. And while Isabelle looks over the girls under her tutelage and the clients that abuse them, she never breaks, but instead basks in her life choices. Godard perfectly weaves each of these characters into literally running into each other, where each person is forced to make a life decision and get on a better path.
As we see Paul, who seems to be his own worst enemy try and be the better father and ex-husband he should be, it's just inevitable for dire consequences to catch up with him. It's quite a brilliant style for Godard too, as he uses the slow motion technique to upgrade these choices we make that influence the rest of our lives. 'Every Man For Himself' might not have the indie look or raw feel as his earlier films, but Godard sure made a great film that makes us look at our own lives and think if we've made the right choices.
His 1980 film, titled 'Every Man For Himself' was nominated for the Palme d'Or Award at Cannes that year and was almost nominated for Best Foreign Film at the Oscars that same year. Prior to 1980, Godard's films were very experimental in nature and mostly done and a very small budget with small name actors. Godard himself has said that 'Every Man For Himself' was like being reborn again, as this was considered his return to mainstream filmmaking with a decent sized budget and well-known actors.
While this film had those new aspects, Godard continued to revert back to his experimental ways with the use of movement and music, particularly using slow motion to elevate certain scenes. What Godard tries to convey and tell us with 'Every Man For Himself' is that no matter the choices you make in life or the paths you decide to go down, you usually end up looking after yourself only. Godard even said that a better title for this film would be 'Save Your Ass'. 'Every Man For Himself' plays out like three separate one-act plays that centers on a certain character in each act. We all know that Godard has influenced tons of directors, one of them being Quentin Tarantino, so it shouldn't be a surprise that each character here and story line cross paths at some point in the film, much like the characters did in 'Pulp Fiction'.
We meet Paul Godard, who is a filmmaker who has been having a long affair with a woman named Denise. This ultimately led to his divorce from his ex-wife. Since Paul is a moody son-of-a-gun, and doesn't want to put in the time emotional effort to make Denise happy, she decides she needs move out and live in the country. But Denise also struggles with leaving the unhappy life in the city that she knows in order to make a change for the better. Meanwhile, Paul tries to appease her, but at a distance, as he seems to sabotage himself and relationships, because he wants to be alone.
This is conveyed by his very unorthodox conversations and thoughts towards young girls, which is fairly creepy. Paul ends up meeting a prostitute named Isabelle, where after their session, she continues her evening of work with several other clients, who are not above abusing her. But she doesn't seem to mind her line of work or life. Even when her sister comes to town to look for help and money, Isabelle convinces her to become an escort instead of helping out. And while Isabelle looks over the girls under her tutelage and the clients that abuse them, she never breaks, but instead basks in her life choices. Godard perfectly weaves each of these characters into literally running into each other, where each person is forced to make a life decision and get on a better path.
As we see Paul, who seems to be his own worst enemy try and be the better father and ex-husband he should be, it's just inevitable for dire consequences to catch up with him. It's quite a brilliant style for Godard too, as he uses the slow motion technique to upgrade these choices we make that influence the rest of our lives. 'Every Man For Himself' might not have the indie look or raw feel as his earlier films, but Godard sure made a great film that makes us look at our own lives and think if we've made the right choices.