In the post Godard world we live in, Cinema is less art more artifice. That’s my opinion and I stand by it. With only 29 reviews left before I finish my tenure here and reach the fated 2000 reviews in my career, I can hold these sort of views. I can also reveal I have committed to print, web page and film fanzine, 20 pieces on the great and grand, Jean Luc. LE MEMPRIS has never been one of these. Its never been one of my personal go to films of his. I like  WEEKEND or BREATHLESS. LE MEMPRIS has been labelled a lot of things by others. They say it is a little pretentious and a touch more self absorbed than other works of his. Ha. Coming from film theorists that rich. I always felt the opposite. It was to painful. To honest. To much a reflection of his radical cinema, lensed through his eye.

Now you likely know the story. Hell, even those who do not watch Godard know this is a film about the making of a film. The films faltering. Between a difficult director in Fritz Lang (playing himself) and his dream project, a retelling of Homers Odyssey. Paul (Michel Piccoli), has been brought in to fix the script by wayward producer Prokosch (Jack Palance). He and his girl Camille (Bardot) are on the edge because they cant connect and this situation is not going to improve things. Paul seems oblivious to the producer’s interest in Camille. He only wants to deliver the film.

This 60th Anniversary edition will not be met with fan boys joy and excitement from film high art types to be honest. They always seem to have a complex relationship with Godards work. Maybe its that feel that he made it before they could. Maybe it was just that he was that great. The extras from the set on the disc play with stardom and fame. Capture and release of the frame. I didnt like either but then it was likely they were to close to home. Film fans should rejoice somewhat though. They will have my acknowledgement that this transfer has revitalised the film in ways I never expected. Magic is rare but then so is good cinema. Colin MacCabe deserves to be rewarded for his refreshing delve into LE MEMPRIS and also maybe his understanding that this means something to us. Godard, now gone, would have approved. So contrary he was. So in love with cinema that was cinematic.

So am I. So is this…

• An introduction by Colin MacCabe
• Paparazzi by jacques rozier
• Bardot Godard : The Party of Things by Jacques Rozier