With more than 100 feature films, shorts, video and TV work to his credit, Jean-Luc Godard is surely the most audacious, groundbreaking and prolific filmmaker from his generation. Even longtime admirers and film historians have probably not seen all of his work and some of it like the political cinema he made with Jean-Pierre Gorin under the collaborative name Groupe Dziga Vertov is tough going for even the most ardent Godard completist. Weekend (1967) is generally acknowledged as the last film Godard made before heading in a more experimental, decidedly non-commercial direction which roughly stretched from 1969 until 1980 when he reemerged from the wilderness with the unexpected art house success, Sauve qui peut (Every Man for Himself). But most of the work he made during that eleven year period prior to 1980 championed social and political change through ideological scenarios and leftist diatribes that were overly cerebral and static compared to earlier career milestones like Breathless (1960), Contempt (1963) and Pierrot le Fou (1965).
Yves Montand (center in raincoat) and Jane Fonda (lower right) star in Jean-Luc Godard’s Tout Va Bien (1972).
Of the films he made during the Groupe Dziga Vertov period, only Tout Va Bien (1972), which starred Jane Fonda and Yves Montand, attracted mainstream critical attention but most of the reviews at the time were indifferent or hostile to this Marxist, Bertolt Brecht-inflluenced polemic about a workers’ strike at a sausage factory. Much more interesting to me was the film he attempted to make in 1969, tentatively titled 1 AM (or One American Movie). A collaboration with cinema-verite pioneers D. A. Pennabaker and Richard Leacock, the project was abandoned after Godard lost interest during the editing phase but Pennebaker ended up completing his own version of the existing footage which he titled 1 PM (or One Parallel Movie). This is a brief history of the film’s journey from concept to screen. Continue reading →
*This is the second part of a revised and updated version of a Norman Lloyd interview which was first recorded in March 2010 just prior to the actor/director/producer’s appearance at the first Turner Classic Movies Classic Film Festival.
Norman Lloyd hangs on for dear life in Alfred Hitchcock’s Saboteur (1942).
On November 8, 2017 Norman Lloyd will be 203 and he shows no signs of slowing down. In recent years, he has become the go-to historian for the American film industry’s golden era due to his friendship and working relationships with such cinema legends as Charlie Chaplin, Jean Renoir, Orson Welles, Alfred Hitchcock, John Garfield, Bernard Herrmann, John Houseman, Joseph Losey and others. Lloyd also continues to take acting roles (he has a nice cameo in the 2015 Judd Apatow comedy Trainwreck starring Amy Schumer) and appear as an interviewee in documentaries such as Marsha Hunt’s Sweet Adversity (2015) and Broadway: Beyond the Golden Age, which is currently in post-production.
*This is a revised and updated version of the original interview which was recorded in March 2010 just prior to Lloyd’s appearance at the first Turner Classic Movies Classic Film Festival. Continue reading →