Jean-Luc Godard: a rare interview

The enigmatic French director speaks about the furore over his recent Oscar award.

An interview with Jean-Luc Godard was published last week in the Swiss newspaper Neue Zürcher Zeitung (available in translation here), and is so far strangely unreferenced in any of the passionate Anglophone articles written about the furore over his being awarded an honorary Oscar by the Academy of Motion Picture Arts and Sciences last Saturday (an event he was conspiciously absent from). In the interview, Jean-Luc Godard seems to allay part of the storm growing over accusations of anti-Semitism, by commenting: "When the Holocaust happened, I was 15 years old. My parents kept it a secret from me, despite belonging to the Red Cross. I only found out about it much later. Even today I still feel guilty, because I was an ignoramus between the age of 15 and 25. I am sorry I couldn't stand up for them."

There is, though, much evidence to suggest otherwise (summarized here by The Guardian or given at length in this article for the American fortnightly, The Forward). The much recycled story of Godard calling the producer Pierre Braunberger a "sale juif" ("dirty Jew") in 1968 in François Truffaut's presence (an event which allegedly led to the collapse of the two director's longstanding friendship) is indeed, if true, shocking. But some of the other accusations leveled at him are more ambiguous. Benjamin Ivry, in his article for The Forward, submits that a line from Godard's 1964 film Une Femme Mariée ("Today, in Germany, I said to someone, 'How about if tomorrow, we kill all the Jews and the hairdressers?' He replied, 'Why the hairdressers?") is demonstrative of an underlying anti-Semitism. This seems both unwise and unfair. The film is after all a fictional work of art. Whilst the line is undoubtedly a tasteless joke, it is the character in the film and not Godard who is making it.

The interview with Godard in the Neue Zürcher Zeitung is enlightening in other senses though, namely how gratified Godard was to receive the award. When asked what the honorary Oscar would mean for him, Godard replied, "Nothing. If the Academy likes to do it, let them do it. But I think it's strange. I asked myself: Which of my films have they seen? Do they actually know my films?" He goes on to claim that the Academy must be making their award largely on the basis of his early criticism. When asked why he didn't attend the awards ceremony, Godard answered simply: "I don't have a visa for the US and I don't want to apply for one. And I don't want to fly for that long." It's hard, though, not to partly attribute Godard's no-show at the awards ceremony to a longstanding rancour towards the Hollywood establishment, who up until now have almost entirely ignored his oeuvre.

Godard's latest release Film Socialisme won't be coming out in Britain until April 2011, though when it showed in the Un Certain Regard category at Cannes last August in was popular with critics, despite deliberately provocative sub-standard subtitles ("L'argent est un bien public" was subtitled in English as "Money public good") and the fact that Godard didn't deign to attend the screening. In Jean-Luc Douin's pensive review of Film Socialisme for Le Monde , he points out that what obsesses Godard, as it has done throughout his cinematic career, is the idea of "rejoining a family after having been excluded from his own, of reuniting with a tribe after having been excluded from the Godard house, after having seen the fraternity of the Nouvelle Vague fray at the edges." When Godard talks about himself as "the Jew of cinema", it is this continual search for a tribe, a band, a group, to which he refers. As he says in his most recent interview with Neue Zürcher Zeitung: "I want to be together with everyone else, but stay lonely."

Read Colin Maccabe's review of Antoine de Baecque's recent biography of Godard in the New Statesman.

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How power shifted dramatically in this week’s Game of Thrones

The best-laid plans of Mothers and men often go awry.

Last week’s Game of Thrones was absolutely full of maps. It had more maps than a Paper Towns/Moonrise Kingdom crossover. More maps than an Ordnance Survey walking tour of a cartographer’s convention. More maps than your average week on CityMetric.

So imagine the cheers of delight when this week’s episode, “Stormborn”, opened with – yes, a map! Enter Daenerys, casting her eyes over her carved table map (Ikea’s Västeross range, I believe), deciding whether to take King’s Landing and the iron throne from Cersei or a different path. After some sassy debates with Varys over loyalty, more members of her court enter to point angrily at different grooves in the table as Dany and Tyrion move their minature armies around the board.

In fact, this whole episode had a sense of model parts slotting pleasingly into place. Melisandre finally moved down the board from Winterfell to Dragonstone to initiate the series’ most inevitable meeting, between The King of the North and the Mother of Dragons. Jon is hot on her heels. Arya crossed paths with old friends Hot Pie and Nymeria, and the right word spoken at the right time saw her readjust her course to at last head home to the North. Tyrion seamlessly anticipated a move from Cersei and changed Dany’s tack accordingly. There was less exposition than last week, but the episode was starting to feel like an elegant opening to a long game of chess.

All this made the episode’s action-filled denouement all the more shocking. As Yara, Theon and Ellaria dutifully took their place in Dany’s carefully mapped out plans, they were ambushed by their mad uncle Euron (a character increasingly resembling Blackbeard-as-played-by-Jared-Leto). We should have known: just minutes before, Yara and Ellaria started to get it on, and as TV law dictates, things can never end well for lesbians. As the Sand Snakes were mown down one by one, Euron captured Yara and dared poor Theon to try to save her. As Theon stared at Yara’s desperate face and tried to build up the courage to save her, we saw the old ghost of Reek quiver across his face, and he threw himself overboard. It’s an interesting decision from a show that has recently so enjoyed showing its most abused characters (particularly women) delight in showy, violent acts of revenge. Theon reminds us that the sad reality of trauma is that it can make people behave in ways that are not brave, or redemptive, or even kind.

So Euron’s surprise attack on the rest of the Greyjoy fleet essentially knocked all the pieces off the board, to remind us that the best-laid plans of Mothers and men often go awry. Even when you’ve laid them on a map.

But now for the real question. Who WAS the baddest bitch of this week’s Game of Thrones?

Bad bitch points are awarded as follows:

  • Varys delivering an extremely sassy speech about serving the people. +19.
  • Missandei correcting Dany’s High Valerian was Extremely Bold, and I, for one, applaud her. +7.
  • The prophecy that hinges on a gender-based misinterpretation of the word “man” or “prince” has been old since Macbeth, but we will give Dany, like, two points for her “I am not a prince” chat purely out of feminist obligation. +2.
  • Cersei having to resort to racist rhetoric to try and persuade her own soldiers to fight for her. This is a weak look, Cersei. -13.
  • Samwell just casually chatting back to his Maester on ancient medicine even though he’s been there for like, a week, and has read a total of one (1) book on greyscale. +5. He seems pretty wrong, but we’re giving points for sheer audacity.
  • Cersei thinking she can destroy Dany’s dragon army with one (1) big crossbow. -15. Harold, they’re dragons.
  • “I’ve known a great many clever men. I’ve outlived them all. You know why? I ignored them.” Olenna is the queen of my LIFE. +71 for this one (1) comment.
  • Grey Worm taking a risk and being (literally) naked around someone he loves. +33. He’s cool with rabid dogs, dizzying heights and tumultuous oceans, but clearly this was really scary for him. It’s important and good to be vulnerable!! All the pats on the back for Grey Worm. He really did that.
  • Sam just fully going for it and chopping off all of Jorah’s skin (even though he literally… just read a book that said dragonglass can cure greyscale??). +14. What is this bold motherfucker doing.
  • Jorah letting him. +11.
  • “You’ve been making pies?” “One or two.” Blatant fan service from psycho killer Arya, but I fully loved it. +25.
  • Jon making Sansa temporary Queen in the North. +7.
  • Sansa – queen of my heart and now Queen in the North!!! +17.
  • Jon choking Littlefinger for perving over Sansa. +19. This would just be weird and patriarchal, but Littlefinger is an unholy cunt and Sansa has been horrifically abused by 60 per cent of the men who have ever touched her.
  • Nymeria staring down the woman who once possessed her in a delicious reversal of fortune. +13. Yes, she’s a wolf but she did not consent to being owned by a strangely aggressive child.
  • Euron had a big win. So, regrettably, +10.

​That means this week’s bad bitch is Olenna Tyrell, because who even comes close? This week’s loser is Cersei. But, as always, with the caveat that when Cersei is really losing – she strikes hard. Plus, Qyburn’s comment about the dragon skeletons under King’s Landing, “Curious that King Robert did not have them destroyed”, coupled with his previous penchant for re-animated dead bodies, makes me nervous, and worry that – in light of Cersei’s lack of heir – we’re moving towards a Cersei-Qyburn-White Walkers alliance. So do watch out.

Anna Leszkiewicz is a pop culture writer at the New Statesman.