Memorable, crazy movie

Bad Acting and worse Bad Screenplay

By the time the dramatic fireworks start popping off, each one feels earned.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

One of this film's many impressive feats is Jean-Luc Godard's ability to masterfully juggle genres. Moment by moment, tonal shifts are likely to occur, but the overall result is not at all a mess, mainly due to the film keeping a stylistic consistency. Although "Alphaville" covers so many genres, its gritty and sometimes surreal style remains the same. One minute "Alphaville" works as a genre parody, in the next it becomes a love story, in the next it becomes an absurdist comedy, in the next it becomes an Orwellian satire , in the next it becomes a heartfelt melodrama, in the next it becomes a haunting thriller, in the next it becomes a mind bending sci-fi flick, in the next it becomes a detective story, and so on and so on. All of these clashing genres bend and break, they are satirizes, payed tribute to, and added on to. This film miraculously manages to poke fun at the science fiction and film noir genres while also being a homage of them, as well as influencing future films of these genres.Godard was rapidly making movies in the 1960's, and he was still very much a young man, but somehow he was able to consistently produce revolutionary, unconventional, boundless, and strikingly influential works of art such as these. Works of art that are able to be classified as every genre and no genres. Works of art that showcase the beautiful and the terrible in this chaotic, often cruel world we live in. His canvas is limitless, and "Alphaville" is evidence of such a statement. Few filmmakers can stuff their works with nearly as many twists and turns, laughs and tears, loves and fears in their entire careers, and Godard was able to tackle all of these feelings in each and every one of his constantly produced 60's masterworks. Never giving up to form both portraits on both political and intimate scales, Godard remains to be a stunning filmmaker, and "Alphaville" is one of his weirdest, funniest, saddest, and most beautifully (and unconventionally) romantic masterpieces.

"Something's not in orbit in the capital of this galaxy." Secret Agent Lemmy Caution has the mission of infiltrating the technocratic society of Alphaville, controlled by a supercomputer ordering its citizens through various methods (including violence and indoctrination) to incorporate logic instead of emotion in every part of their everyday lives. Can a riddle of poetry from Caution be the key to undermining this computer, Alpha 60, and halting their plans to obliterate any other "galaxies" (cities, societies) not in line with their "religion of logic"? I have to admit that "Alphaville" isn't one of my personal favorite Godard films, but I see why it is highly regarded. To me, the photography is its greatest asset. Wisely, to make sure that his vision of Alphaville being a futurecity, Godard shoots almost exclusively at night. That the way the architectural design of certain buildings favors possible cities of the future in 1965 on the inside, allowing us not to recognize that Alphaville is just Paris going through "an architectural renaissance" thanks to nighttime photography only emphasizing its windows and brief examinations of certain exteriors of the selected hotels and Alpha 60s "control centers" where Caution visits cleverly allows Godard to get away with a sci-fi film succumbing to noirish sensibilities. That an "outsider" (those who arrive in Alphaville are considered "from the Outlands") can pollute the mechanical operation of life for the people of Alphaville through using intellect (that is the irony of the city's downfall) to inject a virus so that it self-destructs amused me to no end.I just think that a film which shows a society robotic in its movements, ideology, and functions day to day due to the influence of logic, including a hero which really acts and behaves, ironic enough, similarly, without much fire in the direction or plot to energetically show us their defeat—directed in logic, mechanically by Godard—could be a detriment to the message supposedly conveyed: that love and emotion, freedom, are key to us each as individuals, thinking for ourselves, living for ourselves, allowed to dictate our own lives without the need of control over how and *why* we feel and operate as we do. That Alphaville's sheep fall into decline once Alpha 60 is debilitated by Caution's influence (those working in the control center think that Caution can help them defeat the Outside galaxies they're up against), spinning around or clutching to structures, seemingly unable to move or function without *guidance* does comment on the need to be individuals instead of under the control of any higher superior (government? Corporate entity? Religious philosophy?). All we need is love. Love is all we need.Eddie Constantine made a living out of Mike Hammer tough guy noirish anti-heroes, and he doesn't stray from that in Alphaville. He shoots those that threaten him, and in an early scene Lemmy batters an Alpha 60 stooge sent to incapacitate him in his hotel room. He incapacitates another stooge who tries to stab him in an elevator. Another instance, he roughs up yet another Alpha 60 agent, eventually running over his head! As this is a Godard film in the early-to-mid 60s, Anna Karina is a major part of the plot. She's the daughter of the creator of Alpha 60 (Jess Franco alum, Howard Vernon), eventually a romantic love interest of Caution. Caution needs to talk with her father, perhaps kill him if he continues to work in concert with the computer to execute dangerous plans for other "galaxies". Karina could be argued (or agreed) by cineasts as one of the key actresses working in the early 60s in the world. Her work with Godard offers an impressive package of characters, allowing her a lot of freedom and range due to the content and room to improvise. Plus, she always looks fantastic and it never is a surprise the camera worships her. Godard obviously understood what he had with her, even if their relationship was volatile. Their output together, a string of successes that live on to this day, during this period of passion and volatility continues to hold up rather well, even if a product of its time. I won't lie, though, as this is such a clinically, dry, and matter-of-fact approach in its direction, I had a hard time really latching onto it. It is really nice looking, like its lead actress in it. Godard had learned from the masters; the noirish influence is alive and well.

Godard was one of the most brilliant directors to ever make movies. His rebellious attitude and style simply puts some people off, which is unfortunate since Godard's movies are smart, well-crafted and, yes, entertaining.Alphaville is most often compared to movies that came after it, which goes to show how unique and groundbreaking it was (even if perhaps this has been obscured in hindsight). What Godard achieved is seen best at what HASN'T aged. Anytime you show computers and technology in a sci-fi movie it invariably will look dated years later. Yet Godard's stylized approach looks far beyond the superficiality of Alphaville. For example, the first scene with Lemmy Caution in Alpha 60 shows him monitored with microphones manipulated about his head. The jerky motion of the mics (equipment that isn't futuristic is the slightest) portray the mechanical control of Alpha 60 with cunning insight. The microphones are neither left static nor moved with fluid grace (just as another scene with discontinuous shots of a fight). The ominous, intermittent movements suggest the limitations of this computerized state.I like this movie in its correlation to William S. Burroughs' fictional world Interzone. Alphaville's Dr. Nosferatu (which translates into the undead, as in vampires) bears some resemblance to Burroughs' Dr. Benway. Alpha 60, the monstrous human/machine computer running Alphaville, functions much as Burroughs' Nova Mob. Concerns over science dehumanizing society are pervasive. The scene where Alphaville executes the poets using water ballet echoes the fictional dichotomy the state has drawn."Alphaville" is hypnotic. The continuous use of flashing lights impresses this. The ending is what cracks me up. Ending with Natasha VonBraun (Anna Karina) straining to utter "I...love...you." Is this all Lemmy Caution has fought for, some sentimental tripe? Maybe Godard subtly revised Hitchcock's ending to his second "The Man Who Knew Too Little"--Jimmy Stewart delivers the beyond-obvious line, "Sorry I'm late, I just had to go pick up Henry.""Alphaville" throws together a multitude of increasingly aggressive styles. After "Le Mepris" in 1963, this movie (if one ever could) shows a transition to Godard's scathing "Weekend" in 1967. Godard made so many wonderful movies each its own treasure. Not that everybody should make movies like Godard, I do wish everyone could make movies as good as his are.

Is it trashy art or arty trash? Who cares? The cinematography is pure heaven. The soundtrack is a buzz (even the moments of total silence rock). And the swimming pool scene? Well...you gotta see it to believe it, man. Still an influence on modern film and music, including albums released in 2011 by Bryan Ferry and Hyperbubble, Alphaville rewards repeated viewings with clues that you can't believe you missed the first time. It's rough, but sweet...brainy, yet fun...totally clichéd, yet totally imaginative. I cherish every frame. In a world flooded with films created for the purely logical reason of making money, Alphaville's visit from a galaxy where movies are made for the love of film is always welcome.