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Credits
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Summary
A journalist, Paula Nelson, arrives in Atlantic
City, France, to look for her missing ex-boyfriend Richard Politzer.
Her enquiries soon reveal that he is dead, murdered by an unknown assassin.
Suspecting that Richard may have been the victim of a political intrigue,
Paula allies herself with gun-toting gangsters and shady police agents
to try to uncover the truth...
Review
Having effectively deconstructed the American crime thriller
in Pierrot le fou, Jean-Luc
Godard goes several stages further with Made in U.S.A. and drives
the policier genre to its absolute limits of abstraction.
Guns, gore and gangsters are just some of the film noir trappings which
find their way into this singular offering to the cult of série
noire, a film which has everything except a plot and dialogue you can
make sense of. At the same time, Godard uses the film to express
his own political concerns, notably his distaste for consumerism, his contempt
for American imperialism and an affinity for leftwing politics. There
are also a few thinly veiled references to the Algerian crisis and the
assassination of J.F. Kennedy, both hot topics of conversation at the time
the film was made. As a result, the film is a curious mélange
of film policier and film politique, although Godard would
perhaps have preferred to label it film poétique. As the film’s
trailer cheekily proclaimed, Made in U.S.A. is a film po- in more
ways than one.
The ambiguity surrounding the film’s identity is typical of Godard’s playful yet increasingly introspective approach to filmmaking from the mid-1960s. It illustrates his departure from the conventional film format (in which characters enact a coherent narrative with dialogue you can understand first time round) towards something far more abstract and perplexing. For Godard, arguably French cinema’s most daring and intellectual director, this must have been a tremendously liberating moment in his career, and it is no coincidence that the word "liberté" recurs so frequently in Made in U.S.A. (and let us not forget that America is the self-proclaimed Land of the Free). For Godard, one essential emblem of freedom was the crime investigator, someone who is totally free to use his talents to achieve his result, unfettered by the constraints of law or morality. By casting Anna Karina, herself a symbol of the liberated woman, in the role of an amateur sleuth, in a film with a totally free format, Godard made the clearest expression of what he thought filmmaking should be about: the freedom of the artist to express himself, unimpaired by commercial considerations or previously adhered to conventions. Although it was inspired by an American thriller novel, Made in U.S.A. is nothing like any other crime thriller film made before or since. It has some superficial similarities with Godard’s earlier film Alphaville, but, having only the sketchiest of plots and lacking an objective viewpoint, it is an altogether different kind of work. From the start, the film sets out to alienate its audience - there is no title caption, dialogue is frequently drowned out by external sounds or inexplicably muted, and what dialogue is audible is largely devoid of any intelligible meaning. Even Anna Karina, who stars in the film, fails to win our sympathy, her character appearing cold and singularly unpleasant. Godard has never placed such demands in his audience before and this explains why many regard this as one of his least accessible films. The origin of Made in U.S.A. is nearly as intriguing as the film itself and could shed some much needed light on the film. Whilst Godard was working on Deux ou trois choses que je sais d'elle in 1966, he was approached by his former producer Georges Beauregard, who was experiencing financial difficulties when Jacques Rivette’s La Religieuse was banned by the Gaullist Minister of Information. Beauregard hoped that Godard would make a low budget film for him which would help him to finance his next film. Godard agreed, and started work on Made in U.S.A. whilst he was still engaged on Deux ou trois choses que je sais d'elle. For the subject of Made in U.S.A., Godard was influenced by Howard Hawke’s The Big Sleep, and originally envisaged a re-make of that film, in which Anna Karina would play a trench-coat wearing investigator trying to unravel and insoluble mystery. The fact that Godard made Deux ou trois choses que je sais d'elle in parallel with Made in U.S.A. is significant, because cross-fertilisation between the two films would be inevitable. The former film was an abstract montage of familiar modern day images, intended as a sociological essay, reflecting the breakdown of modern society and the unstoppable power of consumerism. Made in U.S.A. represents an important link in the unique evolution of Godard’s approach to cinema in the 1960s. It marks a radical break with mainstream cinema (typified by the policier genre), which is intended primarily to entertain, and the emergence of a new kind of film, one which allowed the director to express his concerns directly and force his audience (at least those who were not scared off) to question their view of the world. For those who can appreciate Godard’s work, Made in U.S.A. is a witty, challenging and thought-provoking film. It is rich in philosophical and political commentary and shows an extraordinary use of colour, making it a stunning piece of abstract cinematic art. And no matter how many times you watch the film it will remain an enigma, as unfathomable as the mystery Paula Nelson is trying to resolve. © James Travers 2001
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