Terence Rafferty on Godard’s “radiant, ambiguous, serenely perverse” classic and it’s new revival in New York:
The greatness of “Contempt” is that Mr. Godard is not, finally, nostalgic for the Homeric harmony Lang speaks of. He knows that ship has sailed. In this picture everything, ancient or modern, “real” or “unreal,” has its own stunned dignity, and the movie wants us to see it all as beautiful — as its people, tragically, cannot. Even early ’60s furniture.
Contempt, of course, gave this blog it’s name.