I don't think my radically different impressions of the two Godard [the other being Breathless]films I've now seen are owed completely to difference in quality. I probably would have reacted the same to Contempt two years ago, so I'll credit both experience and education in terms of film as to why I'm so incredibly impressed at this picture's depth--and greatness.
As much as my enlightenment and love for film has grown, I must admit there was still so much that went over my head here. I'm rather proud of myself to say I immediately realized the following: while essentially a film about filming an unfilmable story, Godard instead allegorically adapts The Odyssey, the temptation of movies being the Trojan War. There are also a slew of Greek references throughout; one I picked up on was Paul's wearing of his towel like a toga. Another example, which I unfortunately didn't connect, was Prokosch's tossing of film cans like Olympic discusses.
The more I've read about Contempt since finishing it, the more impressed I've been. Godard uses several techniques to imply that the main couple in fact represents himself and his wife (Anna Karina). And from what I've read about the man, and seen (Breathless), you'd be surprised to see Godard take the woman's side of a marital strife, which is just what he does here. The second act of the film that, using long static tracking shots and quick edits, implies real time, is the film's peak as far as greatness goes. Paul's insecurities provoke Camille's psychological playfulness, until Paul's paranoia causes Camille to actually become what he had feared.
Contempt is so richly complex, not to mention visually breathtaking, that I could keep going for a long time, but would be largely borrowing from other more studious observers. That being said, I have taken on a radically new view of Godard, and can't wait to see more of his works.
10/masterpiece
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