Post a Review / Analysis! In early 1971, making an attempt to appeal to a wider audience, Godard and Gorin returned to a more populist—and less sectarian—political mode. Her hair still in the stylish shag cut that she popularized with Klute, Fonda gives a forceful, tense performance. I vividly recall my own youthful disappointment that Tout va bien was not Weekend. As cinema, Tout va bien is radically simplified and blatantly diagrammatic. Mais le lyrisme est chose inefficace quand il s’agit de trouver les moyens d’expression les plus adéquats aux sentiments éprouvés. Overview Edit The film centers on a strike at a sausage factory which is witnessed by an American reporter and her French husband, who is a director of TV commercials. Truffaut avait raison : Godard veut à la fois la vie et son explication, si souvent obtenues chez lui au prix du sacrifice des êtres. To drive home the point, Fonda and Montand are introduced quoting lines from Godard’s previous star-driven commercial feature, Contempt—a parody for which Gorin later took credit. Before production began on Tout va bien, Godard had a motorcycle accident that put him in a coma for a week and resulted in a lengthy rehabilitation and recovery.Godard was seriously incapacitated during the making of this film about a left-wing filmmaker (Yves Montand) and journalist (Jane Fonda) who investigate a strike at a sausage factory, his last completed project with Jean-Pierre …

Indeed, Tout va bien’s autocritique begins almost before the movie itself.

La femme, critique de l’homme. By this we mean that Tout va bien draws ... Tell the world what you think about Tout va bien. Montand’s character, who was once a nouvelle vague filmmaker, undergoes a period of self-questioning, then returns to shooting TV commercials. What knowledge have they gained? After a day and a night, the stars are released. Facilités, compromissions ? To drive home the point, Fonda and Montand are introduced quoting lines from Godard’s previous star-driven commercial feature, Contempt—a parody for which Gorin later took credit. It is, in any case, a far better movie than it seemed, at least to this former and then skeptical hippie, back in the day. Scénario : Jean-Luc Godard, Jean-Pierre Gorin, Montage : Claudine Merlin, Kenout Peltier. Indeed, Godard and Gorin upped the class-resentment ante by having the striking workers played not by real workers but by unemployed actors. Le cinéma français, à la suite du duo interprété par Fonda-Montand, gagnerait à se penser aussi historiquement. This is your chance to share your innermost thoughts on Tout va bien. With his deeply political but unclassifiable debut feature, Med Hondo set out to establish a transformational presence for global African cinema and to accelerate the emergence of a new Africa. The mishap would have him intermittently hospitalized for the next two years. Three decades later, Tout va bien seems more integrated into Godard’s oeuvre—a bridge between the similarly elaborate and Brechtian “musical” A Woman Is a Woman and the more straightforward Passion, which, although less concerned with politics than art, is another love story set in a factory. This emphasis on an active viewer carries through in the third principle of separation as well: refraction. Tout Va Bien is a masterpiece of radical cinema, a caustic critique of society, marriage, and revolution in post-1968 France. Tout va bien insists on class struggle throughout but is mainly about radicalizing its stars. Tota simul disaient les Latins. Quitte à se servir du vedettariat et à engager des acteurs, quitte à reconstituer une lamelle d’usine en studio, Tout va bien se donne les moyens d’accorder de la durée à ceux qu’on ne voit jamais, du temps violent – car ça castagne – du temps chantant – un peu d’action, d’activités libres et de joie avant la fin. Tout va bien’s announced purpose was to “consider the class struggle in France four years on from 1968.” And as the culmination of Godard’s political period, the movie is highly reflexive.

Accueil » Panorama » Analyse » Tout va bien. “We were in a kind of ghetto, and we really wanted to go outside,” Gorin explained a few years later.