Fandor’s Michael Atkinson lays out the ways in which even normally perceptive critics have been stupefied by Jean-Luc Godard’s latest film, Goodbye to Language, forgetting that narratively unconventional doesn’t mean incomprehensible and walking on critical eggshells as they warn viewers that they might have to do a little brain-work instead of watching passively. Lou Lumenick, who writes of Godard’s “private language only film critics and Upper West Side audiences pretend to understand at this point,” is the least subtle of these, but writing for the New York Post, he’s also the easiest fish in the barrel to shoot. Atkinson thankfully aims his sights a little higher.
The New York Times‘ A.O. Scott, no slouch generally, windily maintains that Godard “seems to divide the world into skeptics and worshipers, with not much middle ground,” hardly bothering to make a case as to what a middle ground would look like, or why the “skeptics” (as if Godard is a conspiracy theorist) are simply moviegoers that do not or will not consider anything out of the structural mainstream.
Then:
The routinely astute Andrew O’Hehir, at Salon, even seemed at a loss, writing what he said might be a “reader-proof” review of what might be a “viewer-proof” movie—gingerly saying that you “have to cast aside preconceptions about movies being entertaining, or at least about what you think that means, in order to enjoy Goodbye to Language, and that’s not possible for everybody.”
I could add to the critique. Atkinson says Eric Kohn “gets” Godard but his review also calls it “baffling,” “esoteric,” and “dense.” The always thoughtful Bilge Ebiri opens a positive review, “I’ve now seen Jean-Luc Godard’s latest film twice, and I think I might be one more viewing away from finally being able to say what the hell it’s about.”
It’s actually not very difficult to enjoy, and it’s not as purely cerebral as even its advocates make it seem, by which I mean it’s also viscerally fun and fascinating and challenging and worthwhile. Continue reading “Hello to Language: on the words Godard inspired”
Nathan Fuller 