Contempt (film)

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Contempt (film)_table_infobox_0

ContemptContempt (film)_header_cell_0_0_0
FrenchContempt (film)_header_cell_0_1_0 Le MéprisContempt (film)_cell_0_1_1
Directed byContempt (film)_header_cell_0_2_0 Jean-Luc GodardContempt (film)_cell_0_2_1
Produced byContempt (film)_header_cell_0_3_0 Contempt (film)_cell_0_3_1
Screenplay byContempt (film)_header_cell_0_4_0 Jean-Luc Godard

(uncredited)Contempt (film)_cell_0_4_1

Based onContempt (film)_header_cell_0_5_0 Il disprezzo

by Alberto MoraviaContempt (film)_cell_0_5_1

StarringContempt (film)_header_cell_0_6_0 Contempt (film)_cell_0_6_1
Music byContempt (film)_header_cell_0_7_0 Contempt (film)_cell_0_7_1
CinematographyContempt (film)_header_cell_0_8_0 Raoul CoutardContempt (film)_cell_0_8_1
Edited byContempt (film)_header_cell_0_9_0 Contempt (film)_cell_0_9_1

companiesContempt (film)_header_cell_0_10_0

Contempt (film)_cell_0_10_1
Distributed byContempt (film)_header_cell_0_11_0 Contempt (film)_cell_0_11_1
Release dateContempt (film)_header_cell_0_12_0 Contempt (film)_cell_0_12_1
Running timeContempt (film)_header_cell_0_13_0 101 minutesContempt (film)_cell_0_13_1
CountryContempt (film)_header_cell_0_14_0 Contempt (film)_cell_0_14_1
LanguageContempt (film)_header_cell_0_15_0 Contempt (film)_cell_0_15_1
BudgetContempt (film)_header_cell_0_16_0 $1 millionContempt (film)_cell_0_16_1
Box officeContempt (film)_header_cell_0_17_0 1,619,020 admissions (France)Contempt (film)_cell_0_17_1

Contempt (French: Le Mépris) is a 1963 French New Wave drama film written and directed by Jean-Luc Godard, based on the 1954 Italian novel Il disprezzo (A Ghost at Noon) by Alberto Moravia. Contempt (film)_sentence_0

It stars Brigitte Bardot, Michel Piccoli, Jack Palance, and Giorgia Moll. Contempt (film)_sentence_1

Plot Contempt (film)_section_0

Paul Javal, a young French playwright who has found commercial success in Rome, accepts an offer from vulgar American producer Jeremy Prokosch to rework the script for German director Fritz Lang's screen adaptation of the Odyssey. Contempt (film)_sentence_2

Paul's wife, Camille Javal, joins him on the first day of the project at Cinecittà. Contempt (film)_sentence_3

As the first discussions are completed, Prokosch invites the crew to join him at his villa, offering Camille a ride in his two-seat sportscar. Contempt (film)_sentence_4

Camille looks to Paul to decline the offer, but he submissively withdraws to follow by taxi, leaving Camille and Prokosch alone. Contempt (film)_sentence_5

Paul does not catch up with them until 30 minutes later, explaining that he was delayed by a traffic accident. Contempt (film)_sentence_6

Camille grows uneasy, secretly doubting his honesty and suspecting that he is using her to cement his ties with Prokosch. Contempt (film)_sentence_7

Her misgivings are heightened when she sees Paul grope Prokosch's secretary, Francesca. Contempt (film)_sentence_8

Back at their apartment, Paul and Camille discuss the subtle uneasiness that has come between them in the first few hours of the project, and Camille suddenly announces to her bewildered husband that she no longer loves him. Contempt (film)_sentence_9

Hoping to rekindle Camille's love, Paul convinces her to accept Prokosch's invitation to join them for filming in Capri. Contempt (film)_sentence_10

Prokosch and Lang are locked in a conflict over the correct interpretation of Homer's work, an impasse exacerbated by the difficulty of communication between the German director, French script writer, and American producer. Contempt (film)_sentence_11

Francesca acts as interpreter, mediating all conversations. Contempt (film)_sentence_12

When Paul sides with Prokosch against Lang by suggesting that Odysseus actually left home because of his wife's infidelity, Camille's suspicions of her husband's servility are confirmed. Contempt (film)_sentence_13

She deliberately allows him to find her in Prokosch's embrace, and in the ensuing confrontation she declares that her respect for him has turned to contempt because he has bartered her to Prokosch. Contempt (film)_sentence_14

He denies this accusation, offering to sever his connection with the film and leave Capri; but she will not recant and leaves for Rome with the producer. Contempt (film)_sentence_15

After an auto crash in which Camille and Prokosch are killed, Paul prepares to leave Capri and return to the theater. Contempt (film)_sentence_16

Lang continues to work on the film. Contempt (film)_sentence_17

Cast Contempt (film)_section_1

Contempt (film)_unordered_list_0

Production Contempt (film)_section_2

Italian film producer Carlo Ponti approached Godard to discuss a possible collaboration; Godard suggested an adaptation of Moravia's novel Il disprezzo (originally translated into English with the title A Ghost at Noon) in which he saw Kim Novak and Frank Sinatra as the leads; they refused. Contempt (film)_sentence_18

Ponti suggested Sophia Loren and Marcello Mastroianni, whom Godard refused. Contempt (film)_sentence_19

Anna Karina (by then Godard's former wife) later revealed that the director had traveled to Rome to ask Monica Vitti if she would portray the female lead. Contempt (film)_sentence_20

However the Italian actress reportedly turned up an hour late, "staring out the window like she wasn't interested at all". Contempt (film)_sentence_21

Finally, Bardot was chosen because of the producer's insistence that the profits might be increased by displaying her famously sensual body. Contempt (film)_sentence_22

This provided the film's opening scene, filmed by Godard as a typical mockery of the cinema business with tame nudity. Contempt (film)_sentence_23

The scene was shot after Godard considered the film finished, at the insistence of the American co-producers. Contempt (film)_sentence_24

In the film, Godard cast himself as Lang's assistant director, and characteristically has Lang expound many of Godard's New Wave theories and opinions. Contempt (film)_sentence_25

Godard also employed the two "forgotten" New Wave filmmakers, Luc Moullet and Jacques Rozier, on the film. Contempt (film)_sentence_26

Bardot visibly reads a book about Fritz Lang that was written by Moullet, and Rozier made the documentary short about the making of the film Le Parti des Choses. Contempt (film)_sentence_27

Godard admitted to changing the original novel, "but with full permission" of Moravia, the original writer. Contempt (film)_sentence_28

Among his changes were focusing the action to only a few days and changing the writer character from being "silly and soft. Contempt (film)_sentence_29

I've made him more American—something like a Humphrey Bogart type." Contempt (film)_sentence_30

Filming Contempt (film)_section_3

Contempt was filmed in Italy where it is set, with location shooting at the Cinecittà studios in Rome and the Casa Malaparte on Capri island. Contempt (film)_sentence_31

In a sequence, the characters played by Piccoli and Bardot wander through their apartment alternately arguing and reconciling. Contempt (film)_sentence_32

Godard filmed the scene as an extended series of tracking shots, in natural light and in near real-time. Contempt (film)_sentence_33

The cinematographer Raoul Coutard shot some of the other nouvelle vague films, including Godard's Breathless (1960). Contempt (film)_sentence_34

According to Jonathan Rosenbaum, Godard was also directly influenced by Jean-Daniel Pollet and Volker Schlöndorff's Méditerranée, released earlier the same year. Contempt (film)_sentence_35

Godard admitted his tendency to get actors to improvise dialogue "during the peak moment of creation" often baffled them. Contempt (film)_sentence_36

"They often feel useless," he said. Contempt (film)_sentence_37

"Yet they bring me a lot... Contempt (film)_sentence_38

I need them, just as I need the pulse and colours of real settings for atmosphere and creation." Contempt (film)_sentence_39

Critical reception Contempt (film)_section_4

On the review aggregator website Rotten Tomatoes, the film has an approval rating of 93% based on 56 reviews, with an average score of 8.61/10. Contempt (film)_sentence_40

The site's critical consensus reads: "This powerful work of essential cinema joins 'meta' with 'physique,' casting Brigitte Bardot and director Godard's inspiration Fritz Lang." Contempt (film)_sentence_41

Sight & Sound critic Colin MacCabe referred to Contempt as "the greatest work of art produced in postwar Europe." Contempt (film)_sentence_42

Bosley Crowther of The New York Times called the film "luxuriant" but wrote that Godard "could put his talents to more intelligent and illuminating use"; according to Crowther, who is unclear about the motivations of the main characters, "Mr. Godard has attempted to make this film communicate a sense of the alienation of individuals in this complex modern world. Contempt (film)_sentence_43

And he has clearly directed to get a tempo that suggests irritation and ennui." Contempt (film)_sentence_44

Legacy Contempt (film)_section_5

Antoine de Gaudemar made a one-hour documentary in 2009 about Contempt, Il était une fois... Contempt (film)_sentence_45

Le Mépris (A Film and Its Era: Contempt) which incorporated footage from Jacques Rozier's earlier documentaries (1963), Le Parti des Choses (1964), and André S. Labarthe's Le dinosaure et le bébé (1967). Contempt (film)_sentence_46

The extended apartment sequence that occurs in the film, where Paul and Camille's marriage unfolds, has been praised by critics and scholars. Contempt (film)_sentence_47

In February 2012, Interiors, an online journal that is concerned with the relationship between architecture and film, released an issue that discussed how space is used in this scene. Contempt (film)_sentence_48

The issue highlights how Jean-Luc Godard uses this constricted space to explore Paul and Camille's declining relationship. Contempt (film)_sentence_49

The song "Theme de Camille", which was originally composed for Contempt, is used as a main theme in the 1995 film Casino. Contempt (film)_sentence_50

A still from the film was used as the official poster for the 2016 Cannes Film Festival. Contempt (film)_sentence_51

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: (film).