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Breathless & La Dolce Vita Godard and Fellini were not sympathetic toward each other's work, a split that persists to this day in the attitudes of many cinephiles. Godard saw Fellini as an exponent of the "tradition of quality", the "well-made film", which he, Godard, detested. Fellini saw Godard as an exponent of the not-so-well-made film.
For me these movies, both released in 1960, evoke an era I like the look of, and they never seem dated. Each
film had an effect on the way I edited my surroundings. At any given
moment, there's more information - visual, aural, tactile, olfactory,
gustative - than we can handle. When I walked out of each of these movies, I was aware that my attention was, to some extent, still being directed by Godard or Fellini. The street looked like a scene from the movie; and, more importantly, it felt like a scene from the movie. Fortunately, I haven't spent my subsequent life living in someone else's show - for one thing, it would increase the odds that, at a critical moment, I'll not notice the bus referenced in paragraph four - but there are still times when I realize that the Godard filter is on, or the Fellini filter is on. That's just one of the games this crazed art plays with us.
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