When looking back at films, one often wonders where have all of the great filmmakers gone and why have they taken all of the good films with them. While Contempt (Le Mépris) may not be your typical fair, it is an example of filmmaking at its finest. For the first time, Godard deals with power players and cultivates a film that would make anyone think twice about the simple choices we make in life.
Love is certainly in the air in Contempt, but it is an air that is rife with misdoing. The plot revolves around screenwriter Paul Javal (Michel Piccoli) who is hired by the American producer Jeremy Prokosch (Jack Palance) to finish a script for The Odyssey being filmed by none other than Fritz Lang (himself). While appearing straightforward; add to the mix wife, Camille Javal (Brigette Bardot). As Paul struggles with the decision to accept the offer, he encounters a different Camille than the one he married. The audience is met with a woman who has obviously been offended in some way by her husband, perhaps letting her go alone with Jeremy to his home. It simply took Paul too long to get there by taxi. The rest of the film plays out with the inevitable clashing of egos as both Camille and Paul fail at communicating their wants and needs. Or perhaps it’s just Paul making an unforgivable mistake.
Bardot is the one factor in this film that surprised me. We have an amazing extended shot to begin the film where we are introduced to the naked beauty from head to toe. It is a charming interaction between Paul and Camille and sets up the rest of the film. From this point forward my anger levels rose with each word from Camille’s mouth. She was infuriating and at moments you could feel the tension Paul was feeling, but yet you knew. You knew somewhere deep down inside that Camille was yearning for Paul to be something he simply was not. He could never be that man for her again.
The casting was interesting but perhaps the perfect blend of personalities. Jeremy Prokosch (Jack Palance) plays the role of the womanizing producer that becomes the tool of Camille. Palance plays him as a power player that is not used to taking no for an answer which immediately pits him against Paul. He takes this character over the edge as shown when he jumps at the chance to tell Fritz Lang that the film needs more half naked women because that’s what the public wants. Even the little things such as giving Camille an art book that is filled with sexually explicit paintings, reinforce the motivations of the character. I was also thrilled to see Fritz Lang in the film as, wait for it, the director. As a foil to Palance, Lang provides the film with an old wise man who interjects moments of reason to the plot. While Lang may not be a great actor, it was a thrill to see him so involved.
The finale of the film works perfectly and is well deserved, if not a bit grim and neat. I was surprised that Godard would wrap up the story in such a clean manner. Perhaps it comes from watching too many films that end in such a way that I expected Godard to do more, but it doesn’t ruin the end. Godard demonstrates the adulthood of the French New Wave by working towards a grander film.
Contempt provides viewers with an emotional tour de force. As a viewer, you have to hate and love Camille while still feeling sorry and want to kick Paul in the teeth. For Godard, this is a mature move from his beginnings with the French New Wave. Seeing Godard with a huge budget, amazing locations, and A-list actors could make viewers sweat a bit, but he is able to use these attributes as tools rather than hindrances. Contempt is one of those films that will stay with you and remind you how films used to be made.
