Six days of the inauguration its content remains mysterious

In 1959, a critic of twenty-nine years fusille French cinema in the "Arts" magazine: "your aircraft movements are ugly because your subjects are bad, your players play poorly because your dialogues are void, in a Word, you do not know to film because you do not know what it is. Godard has spread the powder. A few months later, he set on fire with a first compressed feature: "A end of breath". For almost fifty years and almost as many films short and long, it will defend its idea of cinema in all its forms, from the TV to the clip from the pub. It is therefore now in the Museum with the retrospective first integral of his career and exposure that he himself had designed for the occasion. Six days of the inauguration, its content remains mysterious. It is question of "trip (s) intimate", "poetic and philosophical reflection", combining images of his films and those selected by his care in the history of art and the news.

In any case, one is struck by the analogy between the human and the place. Shades pop and bright Beaubourg before the restoration appeared directly borrowed the palette of the 1960s Godard. These long hoses recalled the tortuous apartments of "Contempt", corridors without end "Alphaville". Today, the transparency that dominates the renovated building evokes overprints of his recent films. Beaubourg, in its evolution, tells us how, more than a misunderstood genius, Godard is a man of his time, that precedes or follows the patterns and technologies.

Pastry Chef

It is true that it has become a single craftsman who, in his Swiss workshop, mixes to him only the history of art as a Baker pétrit its pulp, sweetener his mixture of half-erased phrases, tables or extracts of films since the 1980s... This process culminates in his "Histoire (s) of cinema", gigantic lyrical patchwork revisits one hundred years of seventh art. These scattered fragments are bonded by the only filmmaker saliva. Distilled this cavernous tone, serious or oozing humorous speech maintains the consistency of its Visual buildings. Godard is her own favourite actor: following this stamp mesmerizing from the trailer for "A end of breath" where he proposed that spectators "best current film!" This echo smoking and monotonous participated in his glory.

If his films do not have great success in theatres, it is a star which each floor is an event that is poorly today distinguishes the tribute to filmmaker of salvation to the media guru. However, despite a sense of the cutting formula, the thought of Godard remains, probably voluntarily, confusing and contradictory. It identifies hardly the great philosopher of the images that Revere its unconditional. Too try to decrypt the sentences and citations that crawling in his films, could reach the same conclusion as the admirer, the great American critic Many Farber: "no other Director will also invariably gave me the feeling that I was a perfect moron."

This passage at the Beaubourg is perhaps the opportunity to exclude its scholars Godard and revise his films as a unique and inventive compositions. Phrases and Word weaving calligraphy in movement like Ben, a vermilion mouth opens as an abyss yawning ("I salute you Mary"), a Greek statue rotates an azure blinding ("the contempt"), the silky look of an American star looks towards the camera to be pulling in the sky of Paris ("A end of breath")... "The Chinese" is no longer a deep abyss of Maoist thought implementation but a series of variations on the flamboyant colours of propaganda posters. Thus, released from the speech, comes the essential: the beauty of the gesture, the grace of "aircraft movements", the absurd and poetic dialogues which are players of musical instruments.

The art of Godard is integer contained in the last "Pierrot" plan du fou: the Sun, the sea, the horizon. Beautiful volumes transported by a voice that cited Rimbaud: "It is found." What "Eternity".