Numéro deux
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| Numéro deux | |
|---|---|
| Directed by | Jean-Luc Godard |
| Produced by | Georges de Beauregard Jean-Pierre Rassam |
| Written by | Jean-Luc Godard Anne-Marie Miéville, |
| Starring | Sandrine Battistella Pierre Oudrey Alexandre Rignault Rachel Stefanopoli Jean-Luc Godard |
| Music by | Léo Ferré |
| Release date(s) |  24 September 1975 4 November 1976 |
| Running time | 88 min. |
| Language | French |
| IMDb profile | |
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Numéro deux ("number two"), by Jean-Luc Godard and Anne-Marie Miéville, is a 1975 experimental film about a young family in a social housing complex in France. The film uses a distinct style by presenting two images on screen simultaneously, leading to multiple interpretations of the story and to comments on the film-making and editing process.
The film is divided into two parts. In the first third, Godard discusses what it takes to make a film (money) and describes how he got the money. In the remaining two thirds, each character in the story discusses their quotidian experiences through dialogue which is primarily poetic, and secondarily political.
Numéro deux begins with a long monologue by Jean-Luc Godard, in an editing suite. Godard discusses his move to a smaller place from Paris, the finances required to make a film and alludes to the relationship between machines and people, bodies as factories and landscapes and the idea that a film studio is a factory in which he is both worker and the boss. During this opening sequence of the film, we are presented with television monitors featuring characters who will return in the main section later on. They remain enigmatic at this stage. The film carries these same nominally contradictory themes to observe the life of the sexuality and economics in a family in a social housing complex in France. The family shares the same preoccupations in more earthy ways: a woman’s body is described as electricity, charging up and decharging. The bodies of the father and the mother are landscapes or factories. Sexual activity is predicated on what happens at work; sex is work.
Godard, and later in the story, Sandrine and Pierre, describe these things as not being contradictory, but flowing from one to another through the word “and”. For example, a woman is a landscape and a factory, the film is neither political nor pornographic, it is both. Sandrine says: Pleasure is complicated, whereas pain is simple. Finding pleasure in pain or oppression leads to fascism, she states. (Le plaisir, c’est pas simple. C’est l’angoisse qui est simple, pas le plaisir. C’est le chômage qui est simple, pas le plaisir. Quand il y a du plaisir à être chômeur, alors c’est le fascisme qui s’installe.）
Sandrine and Pierre’s family is “observed” by static cameras installed in rooms of an apartment, that were later played back and recorded on 35 mm film. The opening sequence of the film is at full-screen resolution (having been filmed on 35 mm camera directly) but the scenes in the apartment often take up only a small portion of the screen, and play off each other. The editing process – what is shown, what is cut, what is put together, is central to the film. This technique refers to the editing process (where the editor sees the sequences that will be cut together side by side, prior to creating the artifice of an edit) (Speaking About Godard By Kaja Silverman, Harun Farocki, p. 142). The sound design emphasises the outside noises (birds singing, children playing) over the people’s dialogue, giving the effect of the outside world coming in, affecting what occurs in the home.
Sandrine and Pierre, as well as their children, discuss sex. Sex is a tool for oppression (in the sense that it can be given or taken away) and a source of pleasure and pain. The children participate in discussions about sex and body parts, and comment on it. Vanessa states: “Sometimes what my parents do is pretty, sometimes it’s caca.”
The film is open to many interpretations: It is a Marxist analysis of family life by highlighting the power of the superstructure over the family unit. It resonates with Deleuze and Guattari’s Anti-Oedipus, in the sense that it speaks about bodies, economics and families as desiring machines.
[edit] References
- Morrey, Douglas. Jean-Luc Godard.2005 Manchester. Manchester University Press 304 pages ISBN 0719067588
- Silverman, Kaja, Harun Farocki. Speaking About Godard. 1998. New York: NYU Press 243 pages ISBN 0814780660
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