WEBVTT 1 00:00:05.120 --> 00:00:07.960 Old years, folks, it's show time. 2 00:00:08.679 --> 00:00:11.279 People pay good money to see this movie when they 3 00:00:11.320 --> 00:00:14.119 go out to a theater. They are cold sodas, hot 4 00:00:14.199 --> 00:00:17.199 popcorn in the monsters in the protection booth. 5 00:00:17.359 --> 00:00:19.199 Everyone pretend podcasting isn't boring. 6 00:00:20.280 --> 00:00:21.079 Let it off. 7 00:00:42.719 --> 00:00:46.679 Without getting emotional to declaim loud and clear the cold 8 00:00:46.719 --> 00:00:49.759 and serious trophy you are about to hear. Pay attention 9 00:00:49.840 --> 00:00:53.119 to its message and defend yourselves, or it will certainly 10 00:00:53.119 --> 00:01:27.879 be painfully seared like a brand on your troubled imaginations. 11 00:01:38.920 --> 00:01:49.760 Let me does that feel? 12 00:01:50.159 --> 00:01:50.799 Does that seem? 13 00:01:51.040 --> 00:01:51.959 Let us come up there? 14 00:01:57.000 --> 00:02:00.799 Sorry about one? Really? 15 00:02:01.879 --> 00:02:02.599 What I did? 16 00:02:02.680 --> 00:02:04.680 That's a nou sujeanson. 17 00:02:07.120 --> 00:02:07.519 And is. 18 00:02:13.680 --> 00:02:40.479 A female? O care? You're the murdered? Look at you? 19 00:02:45.680 --> 00:02:49.039 Man passes from an upper stage of savagery to a 20 00:02:49.039 --> 00:02:59.680 lower stage of barbarism for the Horror Shops. 21 00:03:19.080 --> 00:03:23.919 Weekend cheerly justifies the passion of fortune Goda in young America. 22 00:03:25.360 --> 00:03:25.759 See it. 23 00:03:30.759 --> 00:03:33.000 Welcome to the projection booth. I'm your host. Mike White 24 00:03:33.080 --> 00:03:35.280 joined me once again? Is mister rob Saint Mary? 25 00:03:35.879 --> 00:03:40.080 What a rotten film? Only meet our crazy people also. 26 00:03:39.840 --> 00:03:41.800 Along with us, as mister Andre du. 27 00:03:42.520 --> 00:03:45.280 The horror of the bourgeoisie can only be overcome with 28 00:03:45.360 --> 00:03:46.000 more horror. 29 00:03:46.800 --> 00:03:49.400 We are wrapping up two months out of Patreon requests 30 00:03:49.599 --> 00:03:52.800 with one from our very own Andre du with Jean 31 00:03:52.919 --> 00:03:57.000 Luke Goudar's Weekend, released in nineteen sixty seven. The film 32 00:03:57.080 --> 00:03:58.759 is a tale of a married couple going on a 33 00:03:58.840 --> 00:04:01.599 road trip to visit the parents with the intention of 34 00:04:01.680 --> 00:04:05.639 killing her father and getting her inheritance. And it's also 35 00:04:05.759 --> 00:04:09.639 about the state of Africans under colonialism. There are some 36 00:04:09.800 --> 00:04:12.439 other things that happen in here too, and will be 37 00:04:12.520 --> 00:04:16.959 attempting to spoil them as we go along. Consider yourself warned. So, Andre, 38 00:04:17.040 --> 00:04:19.199 when was the first time you saw Weekend and what 39 00:04:19.319 --> 00:04:20.040 did you think, sir? 40 00:04:21.000 --> 00:04:24.319 Yeah, so Weekend about ten years ago when I started 41 00:04:24.399 --> 00:04:28.519 delving into Goddard's movies and the French New Wave, hardly 42 00:04:29.040 --> 00:04:32.560 due to your coverage of Alphaville. Yeah, I had seen 43 00:04:33.240 --> 00:04:37.480 what are probably some of his best Alphaville Bonda part Loquio, 44 00:04:37.560 --> 00:04:40.639 Lefu Breathless, of course, and then I thought, okay, let 45 00:04:40.680 --> 00:04:42.160 me check this one out as well. It has a 46 00:04:42.199 --> 00:04:45.319 good rating on IMDb, and I was, Yeah, I was 47 00:04:46.000 --> 00:04:49.199 impressed with its absurd humor back then, and I think 48 00:04:49.240 --> 00:04:50.879 I only saw it at the surface with a lot 49 00:04:50.879 --> 00:04:54.879 of it going over my head. I was more appreciating 50 00:04:54.920 --> 00:04:58.839 its form back then and how Godard plays with a 51 00:04:58.879 --> 00:05:03.720 different aspect. It's the filmmaking to give you an experience and. 52 00:05:03.800 --> 00:05:07.000 Rob how about yourself? If I remember correctly, I think 53 00:05:07.000 --> 00:05:08.759 this may have been around the time that I was 54 00:05:08.759 --> 00:05:10.839 working at Thomas Video. This would have been in the 55 00:05:10.879 --> 00:05:14.439 late nineties. I think that New Yorker Video originally put 56 00:05:14.439 --> 00:05:17.199 it out on VHS, and I think that was what 57 00:05:17.240 --> 00:05:20.600 I saw because I remember them did a very specific 58 00:05:20.639 --> 00:05:23.680 design to their Gooduard series, and I think it was 59 00:05:23.759 --> 00:05:26.199 recommended to me by a coworker who I was working 60 00:05:26.199 --> 00:05:30.600 at the bookstore at the time. And I did not 61 00:05:31.079 --> 00:05:35.399 get it in a lot of ways then. Obviously I 62 00:05:35.439 --> 00:05:39.800 hadn't read enough marks. I didn't understand a lot of 63 00:05:39.839 --> 00:05:44.720 the cultural specific French references, historical references to the era. 64 00:05:44.839 --> 00:05:47.319 At the time, it was only like, I don't know, 65 00:05:47.519 --> 00:05:50.480 nineteen twenty years old. But the one thing that did 66 00:05:50.519 --> 00:05:55.399 stick with me was him playing with again, just Godard, 67 00:05:55.480 --> 00:06:00.399 playing with structure, the intercut title cards all the way through, 68 00:06:01.560 --> 00:06:06.600 and especially that which it's renowned for that I think, 69 00:06:06.639 --> 00:06:09.879 what is it eight ten twelve minute A long tracking 70 00:06:09.920 --> 00:06:14.639 shot of the giant car accident and traffic jam, I 71 00:06:14.639 --> 00:06:18.439 guess you could say, and so something like that kind 72 00:06:18.439 --> 00:06:21.560 of sticks with you visually. So that's what it was. 73 00:06:21.800 --> 00:06:25.120 And I hadn't really rewatched it in a while until 74 00:06:25.480 --> 00:06:28.399 I watched it for this episode, and I watched it 75 00:06:28.439 --> 00:06:32.199 on Criterion Channel streaming along with some of the extras, 76 00:06:33.040 --> 00:06:37.680 and this time really watched it for substance. What did 77 00:06:37.720 --> 00:06:41.240 these sections mean? Was he really trying to say as 78 00:06:41.240 --> 00:06:42.920 opposed to it just being spectacle? 79 00:06:43.759 --> 00:06:47.560 It's ironic because I might have rented this from Thomas Video. 80 00:06:47.639 --> 00:06:49.879 I don't remember if I rented it from there, or 81 00:06:50.560 --> 00:06:53.160 there was a Blockbuster on nine Mile in Ferndale that 82 00:06:53.199 --> 00:06:54.839 I used to get a lot of good things from 83 00:06:54.920 --> 00:06:57.759 as well. They had a great foreign section. But yeah, 84 00:06:57.759 --> 00:07:02.600 I probably watched this back in nine the five ninety six, 85 00:07:02.720 --> 00:07:06.839 something like that. Much younger man coming to this didn't 86 00:07:06.879 --> 00:07:09.839 really appreciate it then. I'm not sure if I appreciate 87 00:07:09.839 --> 00:07:12.360 it now. I think I've been pretty public about my 88 00:07:13.439 --> 00:07:17.040 rocky relationship with Godar and the way that he makes films. 89 00:07:17.560 --> 00:07:19.160 But yeah, I got a lot more out of it 90 00:07:19.199 --> 00:07:21.279 this time. But I think you guys can probably see 91 00:07:21.519 --> 00:07:23.920 from my notes, there's a point probably about halfway through 92 00:07:23.920 --> 00:07:26.199 the film where I just break down. I'm just like Jesus, 93 00:07:26.199 --> 00:07:27.199 went is this going to end? 94 00:07:27.480 --> 00:07:29.000 It just goes on and on. 95 00:07:29.319 --> 00:07:31.879 Oh man. I like certain parts of this. I like 96 00:07:32.000 --> 00:07:36.040 the traffic jam. I like the idea of them on 97 00:07:36.079 --> 00:07:39.680 this road trip to commit murder. But yeah, after a while, 98 00:07:39.720 --> 00:07:41.720 it's just like, oh my god, what is going to 99 00:07:41.720 --> 00:07:44.560 happen in this movie? Is something going to happen? It 100 00:07:44.639 --> 00:07:46.920 reminded me a lot of some of the stuff he 101 00:07:47.040 --> 00:07:50.199 was doing later, like One plus one Sympathy for the Devil, 102 00:07:50.560 --> 00:07:52.800 where it's just, oh, I'm going to talk to the 103 00:07:52.800 --> 00:07:57.079 camera for a while and rant about things and okay, 104 00:07:57.240 --> 00:08:00.399 but yeah, I'm going to try to approach this discussion 105 00:08:00.439 --> 00:08:02.000 with an open mind. By the way, Rob, I really 106 00:08:02.040 --> 00:08:05.160 appreciate the decorating that you did in your place, where 107 00:08:05.199 --> 00:08:08.079 you've got the red, white, blue, and yellow behind you, 108 00:08:08.319 --> 00:08:11.360 really capturing the color scheme of this film with the 109 00:08:11.399 --> 00:08:15.879 French flag slash American flag and then the yellow of capitalism. 110 00:08:16.279 --> 00:08:18.720 This is what's going on because we've got that shell 111 00:08:18.759 --> 00:08:21.879 oil truck in that traffic jam, and then we get 112 00:08:21.920 --> 00:08:25.040 big yellow trucks and yellow objects through the rest of 113 00:08:25.079 --> 00:08:26.959 the film after that too. I'm not sure if we 114 00:08:27.040 --> 00:08:30.120 get yellow before that, but it feels like this film 115 00:08:30.240 --> 00:08:31.879 is very carefully constructed. 116 00:08:32.720 --> 00:08:35.279 Well, thank you for believing that my apartment is also 117 00:08:35.519 --> 00:08:38.919 carefully constructed, because I had no such plan. As you 118 00:08:38.919 --> 00:08:41.200 could see, capitalism is right behind me with all my 119 00:08:41.279 --> 00:08:43.320 Christmas cards that I haven't taken down. 120 00:08:43.240 --> 00:08:45.159 Yet, so it's almost February. 121 00:08:46.320 --> 00:08:48.759 I keep up my Christmas card still my birthday which 122 00:08:48.759 --> 00:08:51.320 is in February. That when the Birthday cards come, the 123 00:08:51.399 --> 00:08:53.360 Christmas cards come down. So that's how it works. 124 00:08:54.200 --> 00:08:59.279 This movie has a very forward momentum, and so much 125 00:08:59.279 --> 00:09:02.879 of it is a quote unquote road movie. But before 126 00:09:02.919 --> 00:09:06.360 we get to the road, there are some very interesting sections, 127 00:09:06.480 --> 00:09:09.399 like the and I had a hard time telling Roland 128 00:09:09.519 --> 00:09:12.279 from other men, and sometimes I had a hard time 129 00:09:12.360 --> 00:09:16.240 telling the main female character, Krinn from other people. But 130 00:09:16.360 --> 00:09:19.799 Karen's a lot more easy to spot than roll On, 131 00:09:20.000 --> 00:09:22.120 because I thought for sure that it was roll On 132 00:09:22.360 --> 00:09:27.559 and Corin at the beginning when she's recounting this incredible 133 00:09:28.000 --> 00:09:31.440 sexual escapade that she was on. But I don't think 134 00:09:31.440 --> 00:09:35.080 that's him, right. Is that her psychiatrist or something, or 135 00:09:35.120 --> 00:09:36.679 is that rollan or is that her lover? 136 00:09:37.440 --> 00:09:40.360 I thought that was the lover from the first scene 137 00:09:40.399 --> 00:09:44.320 on the balcony. Okay, I'm still not sure, but indeed, 138 00:09:44.759 --> 00:09:47.240 in my first couple of viewings I was also confused 139 00:09:47.320 --> 00:09:51.159 due to the lightning, and I noticed throughout the movie 140 00:09:51.240 --> 00:09:54.960 that some people come back, some actors come back in 141 00:09:55.000 --> 00:09:58.679 different roles. The guy that's shooting a rifle at them 142 00:09:58.679 --> 00:10:01.519 when they just leave the city is again, I think, 143 00:10:01.600 --> 00:10:06.320 the communist tractor driver later on, and another guy later on, 144 00:10:06.399 --> 00:10:09.039 and it's on and there's that lady that plays Alice. 145 00:10:09.200 --> 00:10:11.200 So yeah, I think that it's again a thing to 146 00:10:11.240 --> 00:10:15.600 make you aware that you're watching a movie and you 147 00:10:15.679 --> 00:10:19.919 need to engage with it. You or not just they're 148 00:10:19.960 --> 00:10:24.080 too escape, but you're rather part of the experience yourself, 149 00:10:24.120 --> 00:10:25.960 which is what I felt throughout the movie. 150 00:10:26.159 --> 00:10:28.200 You know, the thing for me in this and especially 151 00:10:28.279 --> 00:10:30.360 in that scene where you're talking about, is the way 152 00:10:30.399 --> 00:10:34.240 it's lit, the way music is used. The music at 153 00:10:34.279 --> 00:10:38.440 times is so overpowering, the way it's staged. I get 154 00:10:38.480 --> 00:10:40.759 the feeling so much that it's not so much that 155 00:10:40.840 --> 00:10:43.519 he wants you to relate to characters in this film. 156 00:10:43.639 --> 00:10:49.240 It's very much characters are more symbolic of something. They 157 00:10:49.279 --> 00:10:53.600 represent an idea more than they represent a fully formed, 158 00:10:53.960 --> 00:10:57.039 emotional person that you're supposed to engage. I'm supposed to 159 00:10:57.080 --> 00:11:00.000 care about this couple and do they meet their goal 160 00:11:00.240 --> 00:11:02.519 in the end. I think he has any interest in that. 161 00:11:02.639 --> 00:11:06.000 I think that really what he's interested in doing is 162 00:11:06.240 --> 00:11:10.159 using these people as cardboard cutout stand ins for particular ideas, 163 00:11:11.200 --> 00:11:18.799 particular concepts, political interplay, and just really having us engage 164 00:11:18.840 --> 00:11:22.639 those aspects as opposed to how we would engage a 165 00:11:22.679 --> 00:11:27.000 traditional narrative. And I think that really opens up a 166 00:11:27.039 --> 00:11:28.519 form a bit and gives them a little bit more 167 00:11:28.519 --> 00:11:30.799 to play with. And this is where, and I agree 168 00:11:30.840 --> 00:11:33.240 with you, Mike, you start to see that shift. I 169 00:11:33.240 --> 00:11:35.840 think you start to see it with guitar, when you 170 00:11:35.840 --> 00:11:38.679 get to like Paralleafu, maybe a little bit with contempt. 171 00:11:39.320 --> 00:11:42.240 We start to play with this a little bit. But 172 00:11:42.279 --> 00:11:44.519 by this time and into the late sixties and later, 173 00:11:44.759 --> 00:11:48.399 he's really gone off. I'm not really interested in characters anymore. 174 00:11:48.960 --> 00:11:50.840 No, it doesn't feel like a movie. It feels like 175 00:11:51.120 --> 00:11:53.320 a dialogue he's trying to have with the audience. 176 00:11:53.759 --> 00:11:57.480 Yeah, it's more socratic dialogues. He's trying to get people 177 00:11:57.480 --> 00:11:59.799 to argue, and then he wants you to like listen 178 00:11:59.840 --> 00:12:03.080 to the argument or the symbols and to think about 179 00:12:03.120 --> 00:12:06.360 what they mean in terms of the state of the 180 00:12:06.399 --> 00:12:08.559 world at the time in which the movie was released. 181 00:12:09.399 --> 00:12:11.240 Yeah, indeed, I see what you mean there, because I 182 00:12:11.279 --> 00:12:15.759 also felt like he's not trying to advocate for one 183 00:12:15.799 --> 00:12:18.879 side or the other, the bourgeoisie or the hippies necessarily. 184 00:12:19.519 --> 00:12:24.159 He's just showing you their sides and with the details 185 00:12:24.200 --> 00:12:26.919 of each and then you're supposed to make your own 186 00:12:27.000 --> 00:12:30.240 judgment of it. He's not trying to necessarily tell you, oh, 187 00:12:30.399 --> 00:12:31.679 you should go one way or the other. 188 00:12:32.519 --> 00:12:34.279 Obviously, if we were going to sit here and create 189 00:12:34.320 --> 00:12:37.279 a scorecard, I'd say he would definitely be stacking it 190 00:12:37.320 --> 00:12:42.080 more against the bourgeoisie and their disconnection from their own humanity, 191 00:12:42.399 --> 00:12:45.519 disconnection from their own values. What do they even care about. 192 00:12:45.559 --> 00:12:48.320 There's just a nihilism, you know, when it comes to 193 00:12:48.320 --> 00:12:51.399 this couple and the way that they the whole premise. 194 00:12:51.480 --> 00:12:54.360 As you said in the beginning, Mike, they've gone off 195 00:12:54.399 --> 00:12:57.279 to basically snuff out her parents so they can get 196 00:12:57.320 --> 00:13:00.240 the inheritance, and then there's various things along the way. 197 00:13:00.879 --> 00:13:04.080 We meet if I'm remembering correctly, and I'm going to 198 00:13:04.159 --> 00:13:08.440 Butcher as a name, but it's best known actor for 199 00:13:09.480 --> 00:13:11.279 playing in the truefol. 200 00:13:10.799 --> 00:13:15.559 Films Jeanne Leude. I forget, there's another name there and. 201 00:13:15.679 --> 00:13:18.759 Yeah, and so anyway when you see him, Oh, okay, 202 00:13:19.039 --> 00:13:21.840 he's well known. But there's a scene in there in 203 00:13:21.879 --> 00:13:25.759 which basically the husbands, Yeah, you want to fuck her find. 204 00:13:25.919 --> 00:13:28.799 Yeah, he sells her out at one point. Yeah on 205 00:13:28.840 --> 00:13:32.399 the road. Oh is that your woman? Yeah, she's my wife. 206 00:13:32.639 --> 00:13:35.200 Do what you want? Yeah, I don't care. So there's 207 00:13:35.240 --> 00:13:38.519 this lack of values that I think Goddard's really trying 208 00:13:38.559 --> 00:13:41.320 to talk about in terms of this couple that could 209 00:13:41.320 --> 00:13:44.360 be a stand in for anyone. There's stand ins for 210 00:13:44.600 --> 00:13:49.759 certain strata of class within Recian society that he probably 211 00:13:49.799 --> 00:13:55.000 saw around him. And although Felini was having fun with 212 00:13:55.039 --> 00:13:57.720 it in a way like in La dulce Vita, where 213 00:13:57.720 --> 00:14:00.240 it's oh, it's these out of touch, rich fun folks 214 00:14:00.240 --> 00:14:04.639 who are running around doing crazy antics for the poor 215 00:14:04.679 --> 00:14:07.600 and the working class people don't necessarily get to enjoy 216 00:14:07.600 --> 00:14:08.519 themselves in that way. 217 00:14:09.159 --> 00:14:11.679 It feels like a critique of the bourgeoisie, but also 218 00:14:11.720 --> 00:14:15.720 a critique of the revolutionaries and just like, no, you're 219 00:14:15.759 --> 00:14:19.320 not doing it right, and we're going from the past 220 00:14:19.399 --> 00:14:22.799 with you mentioned the Jean Pierre Leo character and the 221 00:14:23.159 --> 00:14:26.200 Jean Claudiert because he's in there, as he's in there 222 00:14:26.240 --> 00:14:30.240 a couple of times, like you were saying, Andre, he's Santus, 223 00:14:30.399 --> 00:14:33.679 who I believe is from like the era, the Reign 224 00:14:33.720 --> 00:14:36.279 of Terror type of era of France. 225 00:14:36.440 --> 00:14:39.200 It was like robes Pierre's number two or something, which 226 00:14:39.240 --> 00:14:41.440 this is a reference that French people would get that 227 00:14:42.240 --> 00:14:45.559 I'm not hip enough to understand the French Revolution, so 228 00:14:46.039 --> 00:14:48.440 I'm just like, Okay, guy looks like Napoleon or something. 229 00:14:48.480 --> 00:14:51.480 All right, fine, exactly I thought he's Napoleon as well. 230 00:14:52.120 --> 00:14:55.600 Yeah, and there's also there's a mention of Thermidor, which 231 00:14:55.639 --> 00:14:57.399 is one of the months that they added to the 232 00:14:57.440 --> 00:15:01.000 calendar during the French Revolutions. I'm like, okay, yeah, I 233 00:15:01.000 --> 00:15:04.120 don't I'm not as familiar with that as I probably 234 00:15:04.200 --> 00:15:07.320 should be. But this is what we did in the past, 235 00:15:07.399 --> 00:15:11.200 and now here we are in the present, and especially 236 00:15:11.240 --> 00:15:13.399 when it comes to and I know we're jumping around, 237 00:15:13.440 --> 00:15:15.320 but I really don't think it matters with this film. 238 00:15:15.360 --> 00:15:17.960 But when we get very close to the end, and 239 00:15:18.000 --> 00:15:22.200 we have the speeches from the African gentleman and the 240 00:15:22.240 --> 00:15:25.799 Arab gentlemen, and apparently their speeches are flipped, so the 241 00:15:25.879 --> 00:15:28.960 Arab is making the point of the African and then 242 00:15:29.080 --> 00:15:32.919 the Africans making the point of the Arab. And I 243 00:15:32.919 --> 00:15:35.200 didn't catch that the guy was supposed to be Arabic 244 00:15:35.279 --> 00:15:38.480 until I looked in the credits and saw Arab. So 245 00:15:38.519 --> 00:15:40.360 I was like, oh, okay, because I've seen him before, 246 00:15:40.399 --> 00:15:43.519 and I think the gentleman's actually Hungarian. So it feels like, Okay, 247 00:15:43.679 --> 00:15:45.840 this is what we should be concentrating on. But it 248 00:15:45.879 --> 00:15:49.039 takes us almost the entire movie to get to that point. 249 00:15:49.480 --> 00:15:52.600 But yeah, to your point, like, these two people, they're awful. 250 00:15:52.759 --> 00:15:58.320 Our main characters are terrible people. They don't respect anybody. 251 00:15:58.360 --> 00:16:00.559 They just get in fights. The the whole thing of 252 00:16:00.600 --> 00:16:05.720 them skirting around the traffic jam is fascinating them, driving 253 00:16:05.759 --> 00:16:09.960 through the blood and the gore is fascinating them, just 254 00:16:10.320 --> 00:16:13.399 running people off the road. Towards the end of the film, 255 00:16:13.440 --> 00:16:17.600 they're having a fun time just being complete road terrorists. 256 00:16:18.279 --> 00:16:20.559 And the world. 257 00:16:20.279 --> 00:16:23.360 That they live in. We have to talk about this. 258 00:16:23.519 --> 00:16:27.679 It looks like the apocalypse because we have cars everywhere 259 00:16:27.720 --> 00:16:31.519 on the sides of the roads, just burning wrecked car. 260 00:16:31.960 --> 00:16:35.600 There's the field that they go to with the Oh God, 261 00:16:35.600 --> 00:16:38.080 the guy who claims to be the son of God. 262 00:16:38.159 --> 00:16:41.519 Plus I think it's another revolutionary and the way that 263 00:16:41.559 --> 00:16:44.279 they go into that field and it's just all these 264 00:16:44.360 --> 00:16:46.919 wrecked cars all over the place until he magically makes 265 00:16:46.919 --> 00:16:51.080 them disappear and they become sheep, which I'm sure made 266 00:16:51.120 --> 00:16:53.159 you very happy, Rob, because I think the whole thing 267 00:16:53.200 --> 00:16:56.519 with the sheep and he's called the avention Angel, it's 268 00:16:56.559 --> 00:16:58.240 all a boon Weeld reference. 269 00:16:58.799 --> 00:17:02.279 Yeah, there is a think a title card for exterminating angels. 270 00:17:02.320 --> 00:17:05.880 So for me, it's funny because I can see a 271 00:17:05.920 --> 00:17:08.720 feedback loop between this film and in a way maybe 272 00:17:08.720 --> 00:17:11.880 something like Fami of Liberty. This is probably as close 273 00:17:11.880 --> 00:17:16.759 as Gooduard's ever going to get to Bonwell ask. Although 274 00:17:16.759 --> 00:17:18.799 Bunwell will tell you all day long that he wasn't 275 00:17:18.799 --> 00:17:22.839 trying to make any particular point, Gadard definitely wants you 276 00:17:22.920 --> 00:17:24.640 to know that he's making a point. 277 00:17:24.920 --> 00:17:26.960 That's the whole point in the movie. It feels because 278 00:17:27.000 --> 00:17:30.160 that hey, listen to me, I've got things to say. 279 00:17:30.720 --> 00:17:32.720 I'm coming back to the character. The main characters, I 280 00:17:32.720 --> 00:17:35.079 think they set it out from the beginning. They are 281 00:17:35.079 --> 00:17:38.559 trying to kill each other, and they both are cheating 282 00:17:38.559 --> 00:17:41.680 on each other, so they don't really care about each other. 283 00:17:41.720 --> 00:17:45.200 They have this objective of getting the money. But what 284 00:17:45.240 --> 00:17:47.839 I find it interesting is how they can actually work 285 00:17:47.880 --> 00:17:51.119 together to get out of all those situations that they 286 00:17:51.160 --> 00:17:53.599 get into to escape, whether the son of God or 287 00:17:54.119 --> 00:17:57.480 to steal a car or so. So they're quite a 288 00:17:57.480 --> 00:18:00.200 good team, even though they don't want to be with 289 00:18:00.240 --> 00:18:04.480 each other. So yeah, they're very resourceful while lacking character. 290 00:18:05.119 --> 00:18:08.680 And you wonder why everyone is stuck in traffic because 291 00:18:08.720 --> 00:18:12.680 they can skirt around everything within eight minutes of time, 292 00:18:13.119 --> 00:18:16.839 but everybody else is just fine to sit in this 293 00:18:17.039 --> 00:18:21.400 mess and people playing cards and throwing ball from one 294 00:18:21.480 --> 00:18:25.240 car to another, people fascinated with the two or three 295 00:18:25.279 --> 00:18:30.039 cages with wild animals out there, and even amongst the 296 00:18:30.680 --> 00:18:33.640 I love the way that he does this tracking shot. 297 00:18:33.720 --> 00:18:37.200 But even while you're tracking along there there are cars 298 00:18:37.200 --> 00:18:39.599 that are wrecked and I'm like, oh, that's the wreck. 299 00:18:39.880 --> 00:18:42.279 And then that keeps going is you know there's more 300 00:18:42.359 --> 00:18:44.400 to this, and you just keep going because when we 301 00:18:44.480 --> 00:18:47.400 hit the shell truck and there's a white car that's 302 00:18:47.440 --> 00:18:50.839 wedged underneath the shell truck. I was like, Oh, that's 303 00:18:50.920 --> 00:18:55.519 the accident. No, you keep going until you finally see 304 00:18:55.920 --> 00:18:59.240 all of the gore and the destruction, and just yeah, 305 00:18:59.319 --> 00:19:02.720 he is. I like the whole thing of him saying 306 00:19:02.920 --> 00:19:07.079 it's not blood, it's the color red when he shows blood, 307 00:19:07.160 --> 00:19:10.519 and like that horrific rabbit scene that we get on 308 00:19:10.599 --> 00:19:13.599 because also we should probably warn people if you are 309 00:19:13.799 --> 00:19:16.279 not into animal cruelty. I'm not into it personally, but 310 00:19:16.319 --> 00:19:18.880 if you can't handle seeing that on screen, you should 311 00:19:18.960 --> 00:19:20.680 not be watching this movie because there's a lot of 312 00:19:20.720 --> 00:19:23.079 animal cruelty that happens in here. And it just feels 313 00:19:23.160 --> 00:19:26.079 like that was the thing to do with these more 314 00:19:26.160 --> 00:19:29.599 revolutionary movies is, oh, I'm also going to show someone 315 00:19:29.720 --> 00:19:32.400 slaughtering a pig or cutting the neck of a goose 316 00:19:32.519 --> 00:19:34.200 or something like that, and you get a few of 317 00:19:34.200 --> 00:19:37.920 those here. That skinned rabbit is really upsetting. 318 00:19:38.000 --> 00:19:41.039 Which reminded me of a night Obviously, this wasn't a 319 00:19:41.079 --> 00:19:44.640 staged thing that he was trying to reference, I don't think, 320 00:19:44.680 --> 00:19:47.640 but it reminded me of Roger and Me, where the 321 00:19:47.640 --> 00:19:48.960 scene in Roger and Me were. 322 00:19:49.000 --> 00:19:50.160 Yeah, pets or meat. 323 00:19:50.319 --> 00:19:54.000 Yeah, where the poor lady is like, you want buy rabbit, 324 00:19:54.079 --> 00:19:57.480 and then she proceeds to kill and dress the rabbit 325 00:19:57.559 --> 00:20:00.519 on camera, which was a very controversy seen in that 326 00:20:00.559 --> 00:20:04.200 little documentary. But I'm thinking about the car accident and 327 00:20:04.640 --> 00:20:08.799 the way that you describe it in that they can 328 00:20:08.839 --> 00:20:12.640 move through. I guess again, if you take it as symbolism, 329 00:20:12.960 --> 00:20:17.720 people are stuck in certain ways, and they're either stuck 330 00:20:17.839 --> 00:20:22.279 and they're entertained by being stuck. They're stuck in severe distress. 331 00:20:23.160 --> 00:20:26.279 But it's their wealth allows the mobility to move through 332 00:20:26.319 --> 00:20:30.480 this rate of horrors. Basically, it allows a certain amount 333 00:20:30.519 --> 00:20:34.119 of distance and cleanliness from it all. It allows them 334 00:20:34.119 --> 00:20:37.640 to buy people off or to play into whatever needs 335 00:20:38.440 --> 00:20:42.000 people are asking around them, that their values can be 336 00:20:42.119 --> 00:20:46.839 malleable so that they can move through. And So for me, 337 00:20:46.920 --> 00:20:50.480 when I look at that and the fact that yeah, 338 00:20:50.720 --> 00:20:52.920 it's more like a giant car crash spectacle, is that 339 00:20:53.079 --> 00:20:56.240 is instead of being a traffic jam per se where 340 00:20:56.240 --> 00:20:58.000 they're just stuck and they're just going to sit in it, 341 00:20:58.359 --> 00:21:00.759 they don't have to sit in it. They can elevate 342 00:21:00.799 --> 00:21:05.839 above it because they have something that's probably eight ninety 343 00:21:05.880 --> 00:21:08.440 percent of the people who are sitting there don't. 344 00:21:08.160 --> 00:21:12.960 Have about the traffic scene. I haven't really gotten to 345 00:21:13.599 --> 00:21:16.160 a point where I could dissect a message out of it. 346 00:21:16.640 --> 00:21:19.000 I was just enjoying it for what it is, the 347 00:21:19.079 --> 00:21:23.759 different people from all sorts of parts of society. And 348 00:21:24.400 --> 00:21:27.880 I'm originally from Romania, and that kind of traffic behavior 349 00:21:28.160 --> 00:21:31.839 is often seen there. We don't usually have good infrastructure, 350 00:21:31.880 --> 00:21:34.920 so you have one lane road on each side, and 351 00:21:34.960 --> 00:21:37.440 then you need to overtake that way, and people will 352 00:21:37.480 --> 00:21:40.039 not let you merge back in, so then you're better 353 00:21:40.039 --> 00:21:44.000 off overtaking some more. But that in a very selfish way. 354 00:21:44.079 --> 00:21:46.000 So I just looked at it as more of a 355 00:21:46.039 --> 00:21:48.799 critique of sometimes how I behaved in traffic. 356 00:21:49.759 --> 00:21:52.279 They may be very civilized up there, more than we 357 00:21:52.319 --> 00:21:55.440 are here on Earth, with no wars or traffic accidents, 358 00:21:55.599 --> 00:21:56.640 and we'd never know that. 359 00:21:57.680 --> 00:22:01.759 I very much like that the camera is leading them through, 360 00:22:01.880 --> 00:22:05.319 that this is this incredible tracking that we have, and 361 00:22:05.359 --> 00:22:09.519 that we the camera's always ahead of them until the 362 00:22:09.720 --> 00:22:12.200 very end when they finally get to speed off, But 363 00:22:12.359 --> 00:22:16.079 until then, the camera's just leading. Occasionally it will pause 364 00:22:16.160 --> 00:22:18.640 when they have to pause, but it's almost always ahead 365 00:22:18.680 --> 00:22:21.440 of them until you get that final shot, and I 366 00:22:21.559 --> 00:22:25.119 really like too that they continue that shot and pan 367 00:22:25.240 --> 00:22:29.240 the camera over as they are completely free that wide 368 00:22:29.279 --> 00:22:31.640 open field, and I'm just like, where are people driving 369 00:22:31.680 --> 00:22:36.160 across the field. It feels very like people are stuck 370 00:22:36.160 --> 00:22:39.839 there of their own volition that they almost seem it 371 00:22:39.880 --> 00:22:42.119 feels like everybody other than our main couple seems to 372 00:22:42.200 --> 00:22:46.240 be okay being stuck in traffic and having the guys 373 00:22:46.319 --> 00:22:49.880 like fixing his sales and all this, or like I said, 374 00:22:50.000 --> 00:22:52.759 one guy's fixing his car up, and I'm like again, 375 00:22:52.839 --> 00:22:55.039 I'm like, is he the cause of the traffic jam? No, 376 00:22:55.200 --> 00:22:57.880 he's just takes some time to fix up his car, 377 00:22:58.400 --> 00:23:02.559 So maybe do a tune. Almost immediately after that, when 378 00:23:02.559 --> 00:23:06.119 they make a stop, there's another traffic accident, and it's 379 00:23:06.160 --> 00:23:10.319 the whole thing with the tractor hitting the little sports 380 00:23:10.359 --> 00:23:13.359 car and just the dead guy in the sports car 381 00:23:13.400 --> 00:23:17.160 that they keep cutting back to and the fight between 382 00:23:17.319 --> 00:23:19.680 the woman who was in the car and then this 383 00:23:19.799 --> 00:23:23.720 tractor driver. And now we're introducing a lot more about 384 00:23:23.799 --> 00:23:26.720 class and all this, and they start talking about Marx 385 00:23:27.200 --> 00:23:29.440 and then what's really interesting to me is that when 386 00:23:29.680 --> 00:23:31.720 they go to our couple and they're like, well, you 387 00:23:31.759 --> 00:23:35.160 settle this. You saw this, and they just yeat themselves 388 00:23:35.160 --> 00:23:37.440 out of there. They're like, no, thanks, I don't want 389 00:23:37.480 --> 00:23:39.720 to talk about this at all, and then they start 390 00:23:40.079 --> 00:23:43.319 yelling at them and calling them Jews, and I'm just like, 391 00:23:43.359 --> 00:23:45.640 where is this coming from. There's a lot of anti 392 00:23:45.680 --> 00:23:48.480 Semitism in this movie. Even later on there's somebody who 393 00:23:48.640 --> 00:23:50.559 insults somebody else by calling them a Jew. 394 00:23:51.400 --> 00:23:53.000 I think part of that has to do with the 395 00:23:53.039 --> 00:23:57.039 fact that Ian bourgeois circles that Jews were always equated 396 00:23:57.079 --> 00:24:03.000 with communism too, because of Marx obviously has a Jewish background, 397 00:24:03.480 --> 00:24:07.039 that they've always been interlinked in that way. Go back 398 00:24:07.079 --> 00:24:10.599 to Henry Ford. He talked about communism as part of 399 00:24:10.599 --> 00:24:14.480 an international Jewish conspiracy. So all of this it makes 400 00:24:14.480 --> 00:24:17.759 sense that in some minds to interlinked. 401 00:24:17.880 --> 00:24:20.920