First Name: Carmen is an enthralling hybrid for director/actor Jean-Luc Godard and screenwriter (and frequent collaborator) Anne-Marie Mieville. After almost a decade of weird, philosophical experimentation, they took on the opera of Carmen (the original story of which, unfortunately, I am not very knowledgeable of) and deconstructed it with some amusing self-awareness ("Uncle" Jean-Luc Godard at the start of the film is in a hospital of sorts, over-staying his welcome), while going back to Godard's olden days of movies with lovers on the run.
This time the lovers meet by accident and chance- Carmen X (the alluring and dangerous Maruschka Detmers in a controlled, if downtrodden debut acting role) asks of her uncle Jean if she can use his beach-side house to make a film with some friends. He agrees, though not knowing she's apart of a terrorist gang that robs a bank. During the robbery she has a shoot-out, and kiss, with Joseph (Jacques Bonnaffe, whose performance shifts from bizarre to intense and then believable) the security guard. They hide out for a little while, becoming more involved, while Carmen knows at the same time his uncle prepares to make his comeback film after being washed up for so long, her terrorist friends are planning another scheme.
The acting ranges from forceful to observant, from a little boring to a little ridiculous, but like in Godard's 60's films the actors contribute to Godard's documentary style feel (of which he calls a documentary which is 'fictional'). And Godard is able to get a few laughs during his few scenes on camera, even as he spouts a few quotes that make a viewer dig in their minds for a meaning. Accompanied with evocative and sweet late-night shots of cars and a train in Paris, are shots of the ocean, which contributes as the film's main flaw for me (I kept on saying, yeah the sea looks nice, but what's the point he's getting at here- is it the characters or himself that likes staring at the sea?).
Nevertheless, the compositions are no less than on par with what to be expected from Godard (via the great Raoul Coutard and Jean-Bernard Menoud), and the emotionally charged musical selections from Beethoven and Bizet to Tom Waits are pulled off as a successful, often emotional experiment as the footage of the string musicians are inserted several times. Overall, 'Carmen', however little or much it follows it's source, is a fine piece of art-type of cinema, where romanticism and cynical humor plays as much of a role as the story.
This time the lovers meet by accident and chance- Carmen X (the alluring and dangerous Maruschka Detmers in a controlled, if downtrodden debut acting role) asks of her uncle Jean if she can use his beach-side house to make a film with some friends. He agrees, though not knowing she's apart of a terrorist gang that robs a bank. During the robbery she has a shoot-out, and kiss, with Joseph (Jacques Bonnaffe, whose performance shifts from bizarre to intense and then believable) the security guard. They hide out for a little while, becoming more involved, while Carmen knows at the same time his uncle prepares to make his comeback film after being washed up for so long, her terrorist friends are planning another scheme.
The acting ranges from forceful to observant, from a little boring to a little ridiculous, but like in Godard's 60's films the actors contribute to Godard's documentary style feel (of which he calls a documentary which is 'fictional'). And Godard is able to get a few laughs during his few scenes on camera, even as he spouts a few quotes that make a viewer dig in their minds for a meaning. Accompanied with evocative and sweet late-night shots of cars and a train in Paris, are shots of the ocean, which contributes as the film's main flaw for me (I kept on saying, yeah the sea looks nice, but what's the point he's getting at here- is it the characters or himself that likes staring at the sea?).
Nevertheless, the compositions are no less than on par with what to be expected from Godard (via the great Raoul Coutard and Jean-Bernard Menoud), and the emotionally charged musical selections from Beethoven and Bizet to Tom Waits are pulled off as a successful, often emotional experiment as the footage of the string musicians are inserted several times. Overall, 'Carmen', however little or much it follows it's source, is a fine piece of art-type of cinema, where romanticism and cynical humor plays as much of a role as the story.