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[edit] Removed ORIGINAL RESEARCH
I have removed the following original research, which is in violation of the No original research policy. If someone wants to find sources for this and reinstate it, please do. RoyBatty42 20:00, 29 April 2007 (UTC)
[edit] Analysis
This film adamantly shows Godard’s anti-war sentiments. The film was clearly made to solidify the feelings of disgust that Godard felt towards battle. The look of the film was carefully selected. Godard used footage from newsreels to splice together with his own film; the new scenes were shot on grainy, black and white film and purposefully developed to look even grittier. The effect is very similar to an old wartime newsreel, and is not forgiving on the actors’ images.
Godard’s political views become glaringly apparent in an execution scene. A young revolutionary and her companion attempt to shoot Michelangelo, but his comrades capture the two. The girl is very young and quotes Lenin, and tells a fable of the falseness of war as the soldiers prepare to shoot her. The girl appears to be Godard’s representation of a voice of the true nature of war. The commander orders that Michelangelo cover her face with a handkerchief before she is executed, or else the soldiers wouldn’t shoot. She says that “The gas mask is a simple toy,” and likens killing in battle to a carnival game with arbitrary rules. When the men do finally shoot her, they overcompensate, riddling her body with bullets long after it would be apparent that she is dead. This can be seen as a metaphor for the ignorance that the soldiers maintain; if they see the truth, that their fighting is useless, they must destroy any trace of the evidence.
Another social commentary that Godard seems to be expressing is his feelings towards materialism. The men are tempted into battle with empty promises of riches, that their letters from the king will give them the leverage to gain whatever they want. When Ulysses goes into a car dealership and tries to exchange his letter for a Maserati, he is brutally rebuffed by the salesman. “That won’t do,” he says, “You need a lot of money.” The cruel brush-off of the rich man to the poor is clear here. When the two soldiers return home with a suitcase of postcards, the women are fascinated, but not for long. Soon they are asking when they will have the real possessions that the images represent. They are more excited by the prospect of riches than by their husbands’ return. Another topic is how easily the poor are duped by notions of grandeur. The soldiers and king certainly take advantage of those with nothing, just as a capitalistic society does.
The film, while it does has its fictional elements, has an ending that is sadly realistic. The betrayal that Ulysses and Michelangelo face seems almost like a fate that could have come from a true political decree. Cleopatre and Venus are also punished, as soldiers grab them and chop their hair off. They are truly innocent, yet are treated the same way as the true criminals. The ultimate paradox of the film is that the various atrocities the two soldiers perform in the king’s name is what does them in.
