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Two or Three Things I Know About Her [DVD] 
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In Two or Three Things I Know About Her (Duex ou Trois Choses Que Je Sais D’Elle) Jean-Luc Godard beckons us ever closer, literally whispering in our ears as narrator. About what? Money, sex, fashion, the city, love, language, war: in a word, everything. Considered by many to be among the legendary French filmmaker’s finest achievements, the film takes as its ostensible subject the daily life of Juliette Janson (Marina Vlady), a housewife from the Paris suburbs who prostitutes herself for extra money. Yet this is only a template for Godard to spin off into provocative philosophical tangents and gorgeous images. Two or Three Things I Know About Her is perhaps Godard’s most revelatory look at consumer culture, shot in ravishing widescreen color by Raoul Coutard.
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Top Customer Reviews
the sheer beauty of the piece on the whole and the genuinely bracing brilliance with which Godard whispers and composes makes it a definite contender for one of the greatest films of Europe in the 60's, if not all cinema. Particularly noteworthy is Coutard playing the prestidigitator and wrangling thoroughly bewitching images from the most inauspicious things.
The cinematography is largely excellent although, in Godardian-style, some of the framing is a bit weird. Of course it doesn't help that Godard's muse (and ex wife) Anna Karina isn't cast, I think she was working on Godard's (far more interesting) MADE IN USA in the afternoons while he shot TWO OR THREE THINGS in the morning? If that's the case (I'm sure I have read this but can't find a reference at the moment) then it highlights how even a prolific film maker of Godard's stature couldn't pull off two accomplished films made simultaneously. Karina, one of the truly great movie actresses of her generation, might have made this a more watch-able film but it's incoherent story line and endless sermonizing gives it no chance of being any good.
Most Helpful Customer Reviews on Amazon.com (beta) (May include reviews from Early Reviewer Rewards Program)
1. The city has not lost significance. The reverse is true: its significance has been artificially strengthened to conform to a new kind of commercialism: the reification of the non-physical manifestations of "post"-modern lifestyles. The city is now a Disneyland of its own former self plus all the imagined characteristics attached to it. Like I tought of before: what happens in Paris in the `60s is what happens in Bs. As. Only on the `80s or later.
2. Electricity and water: true, so true. But what we need is not in fact to forget the cost of things and use them as if they're free? To think about this kind of price all the time would make us crazy isn't?
3. The distribution of the city, Paris: well, we are seeing the results (2005 riots).
4. The colors and the play with them: the sixties look wonderful, so clean and so proper to human living: must have been a shock the intrusion of concrete at the same time of that colorful environment in clothes and artifacts. Now the concrete turns classic into browns and pseudo-old stuff (retro) and the clothes are more of a faded mode: maybe the fabrics are more important now.
5. The middle-low class woman prostituting: now they're the secretaries and so of the corporate world: the legal prostitutes, with their consent.
6. Camera movements and mise-en-escene: perfect in every frame.
7. The disconnection with the world and with others: crushing objectivity and isolated subjectivity: in the movie redention is possible; to transcend the frontiers language produce to my world (as in Orwell). I'm not so sure: the intent of the film when Godard doubts about the significance of words and how they are generated is to well for the `60s but passé after the fiasco of post-modernist tought: reality is back in social science. Anyway: the intent to redefine and show "a conversation" in cinema is utterly interesting, I feel engaged when I see this on screen.
8. A less educated girl at the beauty parlor: the technique os "semi-interview" is used, like in other Godards: we cant listen to the questions, only to the answers. The girl is so typical of her class: now she would be the same, but "liberated" of the need to acquire culture, call it Western or "high" or of the dominators: now capitalists have produced the illusion that they're free, that the low classes can have "their" culture and is all the same, all is valid: the result: no more critical books, no more critical cinema, no more critic, only big cars and prostitutes and garbage hip-hop: no Beatles here, where pop could be art. Popular now is only the filthy remains of culture's process of production for the masses.
9. How to show something that happens: the garage sequence. Interesting, but more for the film scholar, the interested in the problem of representation. Not for me, not now.
Shocking decades ago, it is a very average today viewing of days passed.