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"Le Petit Soldat" (1963), directed by Jean-Luc Godard, had a tumultuous reception upon its belated release. Banned in France for three years due to its controversial depiction of the Algerian War and torture, the film finally saw the light of day after the conflict's end.
Here's a breakdown of its reception:
Controversy and Censorship: The primary reason for its initial lack of release was the film's stark portrayal of torture used by both sides of the Algerian War. Godard didn't shy away from showing the methods employed, which included waterboarding. In a nation reeling from the war's trauma and sensitive about its image, this was deemed too incendiary.
Mixed Critical Response: Once released, critical reactions were varied. Some admired Godard's bold experimentation with narrative, editing, and political themes, viewing it as a courageous and intellectually stimulating work. They appreciated the way he challenged conventional notions of heroism and morality during a politically charged time. They liked the way he interweaved documentary footage with fictional narrative.
Criticisms: Other critics found the film confusing, disjointed, and overly intellectual. Some considered the characters unsympathetic, and the narrative too abstract. The fragmented narrative and dense philosophical dialogues were not appreciated by all audiences or critics.
Thematic Resonance: Despite mixed reviews, the film resonated with some viewers and critics who were becoming increasingly disillusioned with traditional notions of patriotism and warfare. It challenged the simplistic narratives often presented by governments and media, and highlighted the moral complexities and psychological toll of political violence.
Legacy: Over time, "Le Petit Soldat" has gained a reputation as a significant, albeit challenging, work in Godard's filmography. It remains important due to its exploration of politically sensitive themes, its innovative approach to filmmaking, and its historical context within the French New Wave movement.
In essence, the initial reception was a mix of censorship due to political sensitivities followed by a divided critical response, with some praising its daring experimental approach and challenging themes, while others found it confusing and off-putting. However, its influence and reputation have grown over the years.
The AI summary fails to mention that Bruno Forestier is a right-wing agent/assassin. This was the primary reason the film was attacked by the French Left, who found the character's lack of revolutionary conviction offensive.
This famous aphorism originated in this film and is a cornerstone of its critical reception and legacy.
This was the first film Godard made with Anna Karina, marking the beginning of one of cinema's most famous director-muse relationships.
Le Petit Soldat, filmed in 1960 but banned until January 1963, received a highly polarized reception that was as much political as it was aesthetic. The French government, under Minister of Information Louis Terrenoire, banned the film for its depiction of torture by both the FLN and French-aligned agents (the OAS) during the Algerian War. Upon its release, the film was famously attacked by the French Left; critics like Georges Sadoul were repulsed by the protagonist, Bruno Forestier, a right-wing draft dodger and assassin who lacked clear political or moral conviction. Conversely, some critics praised the film's 'reportage' style—a documentary aesthetic achieved by Raoul Coutard's handheld cinematography—and its intellectual depth, encapsulated in the famous line: 'Cinema is truth 24 times a second.' While the AI summary correctly identifies the ban and the presence of torture, it incorrectly claims the film used actual documentary footage and misses the crucial political context regarding the protagonist's right-wing affiliation, which was the core of the contemporary critical divide.