By Chris Darke
A impressive black-and-white hybrid of movie noir and technology fiction, "Alphaville" (1965) is now essentially the most enduringly well known of Jean-Luc Godard 's motion pictures of the Nineteen Sixties. operating with no units, lighting tricks, or perhaps a script, Godard created a dystopian imaginative and prescient of a technocratic urban of the long run, which resonates with filmmakers this present day. "Alphaville" pits undercover agent Lemmy warning (Eddie Constantine) opposed to Alpha 60, the super-computer that presides over a urban the place weeping is outlawed, poetry is going unrecognised and the phrases 'conscience' and 'love' have ceased to exist. Lemmy's venture is to catch the renegade scientist Professor von Braun (Howard Vernon) yet is complex while he falls in love with the Professor's ravishing daughter, Natasha (Anna Karina). during this first ever exploration of Godard's masterpiece, released at the 40th anniversary of its free up, Chris Darke uncovers the film's special mixture of genres and types and attracts on new interviews with the director's collaborators to chronicle the film's creation. Analysing "Alphaville" in its ancient context, he additionally examines how the movie in fluenced Godard's later paintings, in addition to exploring Alphaville's 'afterlife' within the paintings of different filmmakers and artists.
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Additional info for Alphaville (Cine-File French Film Guides)
P. 25. Interview with Raoul Coutard. National Film Theatre, Akim Tamiroff programme (undated). The story of Welles’ ill-fated production of Don Quixote reveals a connection between the careers of Tamiroff and his co-star in Alphaville, Howard Vernon. Vernon worked frequently with the Spanish pulp-horror director Jesus Franco, who, in 1992, released a controversial assembly of the footage Welles had shot of Cervantes’ tale under the title Don Quixote de Orson Welles. ‘Howard Vernon: d’Orlaf à Hermocrate’, Cahiers du cinéma 505, 1996, p.
Born in 1917 to émigré Russian parents in Los Angeles, Edward Constantinewski trained to be an opera singer at the Vienna Conservatory. Throughout the 1930s and 1940s he performed internationally with swing bands and as a solo singer, and in the early 1950s he became the protégé of the legendary Parisian chanteuse Edith Piaf. ) His highly popular persona as the French-speaking FBI agent Lemmy Caution was established in the mid-1950s with the commercial success of the films adapted from Peter Cheyney’s novels.
There are, as Lemmy Caution might put it, some things you just know. Later, he will observe that ‘Natasha is a name from the past’, only for her to respond with the Alphaville mantra that ‘you can only know what exists in the present. ’ But Lemmy must deal with Natasha as she is, hesitant and vacillating, full of uncertain ardour, hovering between two states: the overlit somnolence of her place in Alphaville as a ‘Second Class Programmer’ and the interior illumination of her heart that Lemmy promises.
Alphaville (Cine-File French Film Guides) by Chris Darke