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Everything Is Cinema: The Working Life of Jean-Luc Godard, by Richard Brody
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A "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times)
When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images―cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a―if not the―key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable.
In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers.
Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.
- Sales Rank: #279423 in Books
- Published on: 2009-06-23
- Released on: 2009-06-23
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.59" w x 6.00" l, 1.55 pounds
- Binding: Paperback
- 720 pages
From Publishers Weekly
Starred Review. Comprehensive and fascinating, this critical biography of one of the leading filmmakers of the French New Wave, Jean-Luc Godard, by New Yorker editor and film critic Brody offers the significant events and achievements of the cinematic innovator who combined an eye-opening concoction of art, politics, music, personal values and social mores. The author reveals an isolated yet driven creative genius who rises from writing articles for the pioneering Cahiers du Cinéma magazine with Truffaut, Rivette and Rohmer to soaring early successes with his films Breathless, Contempt, Masculine Feminine, A Married Woman to the later controversial gems, First Name: Carmen, Hail Mary and Detective. Godard, according to Brody, compares in critical importance to Picasso in his artistry, as the director's puzzling complexity is revealed through scores of interviews with family, colleagues and crew. Throughout the book, the key personal elements of Godard's chaotic love life provide added spark. This is a completely enjoyable and revealing account of an enigmatic director whose singular creativity will not allow him to make commercial compromises. (May)
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Review
“Richard Brody's biography of Godard--arguably the most important, enigmatic, and exciting filmmaker of the second half of the 20th century--effortlessly weaves intellectual history, a personal saga, and an authoritative reading of the films themselves into a seamless web. It virtually crackles with intelligence, and is a must read for anyone interested in cinema.” ―Peter Biskind, author of Gods and Monsters: Thirty Years of Writing on Film and Culture
“Full of lucid analysis and human context, Richard Brody's book performs a heroic act in rescuing Godard and his growing shelf of works from the prison of myth and theory, from the cult of youth and the cult of the '60s, restoring him to his place as an engaged, hard-working artist.” ―Jonathan Lethem, author of The Fortress of Solitude
“Godard changed the movies as much as the American masters he grew up on: Welles, Hawks, Hitchcock, and the rest. He is as original as Picasso--but unlike Picasso, he has been denied the biography he has always deserved. This is it. Just at the moment when the New Wave turns fifty, Richard Brody has given us Everything is Cinema, a remarkable book which describes with sharp intelligence a great and elusive artist's times, intellect, passions, and work.” ―Wes Anderson, writer and director of Rushmore, The Royal Tenenbaums, and The Life Aquatic
“Everything Is Cinema is better than a biography, it is a novel. And a great novel, in which one discovers the story of a man who almost picked the wrong art form, a struggling writer who became an immense filmmaker.” ―Bernard-Henri Lévy, author of American Vertigo
About the Author
Richard Brody is a film critic and editor at The New Yorker. Everything Is Cinema is his first book.
Most helpful customer reviews
8 of 8 people found the following review helpful.
Fine book on an enigmatic artist
By Cliff Burns
I must congratulate Mr. Brody for his in-depth examination of one the the great auteurs of cinema, a man who has consistently defied convention and created a body of work unlike anyone else in his profession.
Writing about Jean Luc Godard in an exercise in exasperation because the director is deliberately elliptical, leaving his films, methods and aesthetic open to discussion and varied interpretations. Branded, alternately, a fascist sympathizer, a communist, an anarchist and everything in between, Godard continues (to this day) to work at his own pace, exploring the themes that fascinate him without apology to critics, colleagues or even his most devoted followers and acolytes.
It is very easy to look foolish when discussing an artist as fluid, ever-evolving and unabashedly personal as Godard, but Mr. Brody's book treats its subject with finesse, subtlety, erudition and respect.
A superb meditation on a cinematic master.
7 of 8 people found the following review helpful.
must have on godard
By Donna Nueva
if you love godard, you must have this book,by THE NEW YORKER film reviewer, richard brody.he offers an insightful biography of godard, and his influences, the reviews are in chronological order, and are MUST READS, after watching the dvds. his treatment of BREATHLESS is packed with information and astute observations. it is absolutely amazing that BREATHLESS was godard's first film. keep this book by your dvd player!
3 of 3 people found the following review helpful.
An informative overview of Godard's life and work from the beginnings to 2004, including his shorts and work for television
By Christopher Culver
Jean-Luc Godard's output has been prodigious, and this massive book by Richard Brody manages to cover most of Godard's films up to 2004 and how they relate to the auteur's life. Brody, who first came to prominence as a writer for The New Yorker, has seen every one of Godard's films, and not only does he take us from Godard's early life and first feature A BOUT DE SOUFFLE up to his then most-recent feature NOTRE MUSIQUE, but he also describes Godard's many short films and television works, some of which are little known.
Proceeding chronologically through Godard's life, Brody first describes the context for how each film was made: Godard's personal relationships with the actors or screenwriters involved, where the money for the shoot was coming from, and how the shoot itself proceeded. Without getting too in-depth -- this is fundamentally a work of biography, not of very close analysis -- Brody describes the general plot and main episodes of each of the films. Brody sometimes claims that events on screen reflect events in Godard's private (usually romantic) life, and from other reviews here these claims seem to be contentious. However, that Godard's early films mirrored his relationships with Anna Karina and Maria Vlady was noted even in the 1960s by people close to Godard, and Brody is often basing himself on published sources. (Nearly all factual claims in the book are sourced, and the book ends with a lengthy section of endnotes).
Brody finds Godard's work to be interesting and often rewarding overall, but he does not believe that every film that Godard has made is of equal value, and he sometimes mentions his preferences. He feels that Godard was at an artistic nadir in the late 1960s and early 1970s with his politically radical films (the Dziga Vertov years). Later he calls Godard's early 1980s PASSION a misstep but its successor PRENOM: CARMEN a fine work. He also notes with disdain Godard's increasing anti-semitism in the 1990s.
For any cinephile wanting an overview of Jean-Luc Godard's work and the fascinating circumstances of how Godard's imagination became films, this is currently the best reference. My only regret is that the book stops in 2004, and Godard has continued to make films in the years since.
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