Masculin - Feminine or: The children of Marx and Coca-Cola
| Movie | |
|---|---|
| German title | Masculin - Feminine or: The children of Marx and Coca-Cola |
| Original title | Masculin, feminine: 15 faits précis |
| Country of production | France , Sweden |
| original language | French , Swedish , English |
| Publishing year | 1966 |
| length | 104 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Jean-Luc Godard |
| script |
Guy de Maupassant (novel) Jean-Luc Godard |
| production | Anatole Dauman |
| music | Jean-Jacques Debout |
| camera | Willy Kurant |
| cut |
Agnès Guillemot Marguerite Renoir |
| occupation | |
| |
Masculin - Feminine or: The Children of Marx and Coca-Cola is a French film by Jean-Luc Godard from 1966. The screenplay is loosely based on two stories by Guy de Maupassant , Le Signe and La Femme de Paul . The film was only shown in the original version with German subtitles in Germany for 35 years until ZDF produced a dubbed version in 2001.
action
Paris in the winter of 1965: Paul has finished his military service and is protesting against the invasion of the US military in Vietnam. He and his friend Robert put up posters against the Vietnam War and worked briefly for a newspaper. Madeleine desperately wants to become a famous singer and makes her first record. Paul falls in love with her, but she is disinterested because she wants to remain independent. After being thrown out of his apartment, he moves in with Madeleine and her friends Catherine and Elisabeth.
Since Madeleine is successful in the music business, she accepts Paul's advertising and soon the first child is on the way. He has now found work at an opinion research institute, where he asks French women about their buying behavior, although he is hostile to capitalism. Because of her career, Madeleine is often on the road for long periods of time, which is fine with Catherine as her interest in Paul grows. When Robert tells her that he is in love with her, she turns him off. Madeleine and Paul now want to move in together and have looked at an apartment. But her plan was done when Paul fell out of the skyscraper he wanted to move into with her.
Reviews
The Lexicon of International Films wrote that Godard's interest in “dialectical materialism” and politics began with this film, albeit in a very idiosyncratic sense: He didn't want to make “political films” but “make political films”. The fragmentation of history and the “lingering on marginal events” that had no direct reference to it were understood as an indication of how difficult it is today to establish common ground. It seems as if the individual has to withdraw ever further into the private sphere from the forces of collectivization. The critic of the Evangelical Film Observer , on the other hand, drew the following conclusion: "A very sensitive, undramatic film [...] that makes considerable demands on an audience that is also open to film art."
Awards
At the 1966 Berlinale , Jean-Pierre Léaud was awarded the Silver Bear for Best Actor . The film itself was nominated for the Golden Bear .
Web links
- Masculin - féminin: The children of Marx and Coca-Cola in the Internet Movie Database (English)
- Masculin - Feminine or: The children of Marx and Coca-Cola in the online film database
- Masculin - Feminine or: The children of Marx and Coca-Cola at Metacritic (English)
- Masculin - Feminine or: The children of Marx and Coca-Cola at Rotten Tomatoes (English)
- Criticism in the film headquarters
- Review by Roger Ebert from the Chicago Sun-Times of November 21, 1967 (English)
Individual evidence
- ↑ Masculin - Feminine or: The children of Marx and Coca-Cola. In: Lexicon of International Films . Film service , accessed August 26, 2017 .
- ↑ Evangelischer Presseverband Munich, Review No. 295/1966