Charles Bitsch Movies

The end of the world as we know it has come and gone, and only a very few people are still alive. In fact, only a man, his wife, and another woman whom he once desired still live. Oddly, the events which brought about the end of the world have had no effect on the man's morality: he still wants to cheat on his wife with the other woman. This doesn't bode well for whatever diminished future humanity has, however. ~ Clarke Fountain, Rovi

Jean-Luc Godard directed this brightly colored, pop-art homage to American crime cinema, which somehow finds room for extended commentary on leftist politics and the corrupt nature of advertising. Paula Nelson (Anna Karina) is a mystery woman (Is she a reporter? Perhaps a spy?) who used to be involved with Richard, a man who is now an outspoken Communist and has been linked to the murder of a foreign agent. Paula wants to silence Richard before he starts making trouble for her, but she can't find much hard evidence that's he's still alive outside of a recently discovered tape recorder that plays his recorded rants on current political issues. While speaking with Typhus (Ernest Menzer), a small time hood who knows about Paula's relationship with Richard, shots ring out and suddenly Typhus is dead. As Paula tries to find a way to get rid of the body, she tries to discover who killed him and why, as a pair of lackadaisical hoods (Laszlo Szabo and Jean-Pierre Leaud) follow her around Paris. Filled with references to American genre cinema and dedicated to Samuel Fuller and Nicholas Ray, Made In U.S.A. was the last film Godard would make with his one-time wife and frequent collaborator Anna Karina, and it was filmed simultaneously with another feature Godard released in 1966, 2 or 3 Things I Know About Her. The admittedly flimsy plot was loosely adapted from the novel The Jugger by Donald E. Westlake (published under the pseudonym Richard Stark); Westlake wasn't paid for the rights, and he prevented the film from being released in the United States until after his death in 2008. ~ Mark Deming, Rovi

In Alphaville, Jean-Luc Godard fuses a hardboiled detective story with science fiction. Lemmy Caution (Eddie Constantine), a hero Godard borrowed from a series of French adventure films, comes to Alphaville, the capital of a totalitarian state, in order to destroy its leader, an almost-human computer called Alpha 60. While on his mission, Lemmy meets and falls in love with Natacha (Anna Karina), the daughter of the scientist who designed Alpha 60. Their love becomes the most profound challenge to the computer's control. Void of any flashy special effects, Alphaville uses 1960s Paris to depict the city of the future. ~ Matthew Tobey, Rovi

Contempt is the story of the end of a marriage. Camille (Brigitte Bardot) falls out of love with her husband Paul (Michel Piccoli) while he is rewriting the screenplay Odyssey by American producer Jeremiah Prokosch (Jack Palance). Just as the director of Prokosch's film, Fritz Lang, says that The Odyssey is the story of individuals confronting their situations in a real world, Le Mépris itself is an examination of the position of the filmmaker in the commercial cinema. Godard himself was facing this situation in the production of Le Mépris. Italian producer Carlo Ponti had given him the biggest budget of his career, and he found himself working with a star of Bardot's magnitude for the first time. ~ Louis Schwartz, Rovi

Jean-Luc Godard directed this brutal and purposefully harsh satire (adapted from a play by Benjamino Joppolo) which explores the grim folly of war. Ulysses (Marino Masé) and Michel Ange (Albert Juross) are a pair of thickheaded peasants living in a nameless country who receive a visit from a pair of military recruiters informing them the king wants a favor of them. Impressed that the king regards them as friends, Ulysses and Michel Ange join the army and set out to see the world's battlefields, having been told they can claim any spoils as their own and live a lawless life on the nation's behalf. Ulysses and Michel Ange often write their equally dim girlfriends, Venus (Geneviève Galéa) and Cleopatre (Catherine Riberio), with tales of the places they've seen and the people they've killed, but when the soldiers return home, their women discover the riches they were promised are not quite what they imagined. Filmed and recorded in a deliberately harsh and murky style, Les Carabiniers (aka The Riflemen and The Soldiers) features a brief appearance from Barbet Schroeder, years before he would become an acclaimed director, as a car salesman. ~ Mark Deming, Rovi

Paris Nous Appartient begins at the end-with a mysterious suicide. Curious as to why a young Spaniard would take his own life, Betty Schneider visits many of the places frequented by the dead youth. She learns from theatre-director Giani Esposito that the suicide victim was part of a sinister international conspiracy. She further learns from American-expatriate Daniel Crohem that Esposito has also been targeted for persecution by the conspirators. By the time Schneider realizes that the conspiracy was merely a figment of the neurotic Crohem's imagination, the terrified Esposito has killed himself. The intrigues of the plot take second place to the film's centerpiece: an eternally-in-progress stage production of Shakespeare's Pericles, Prince of Tyre. Now regarded as one of the pioneering efforts in the French "New Wave" movement, Paris Belongs to Us was also the first feature-length effort of director (and former critic and film theorist) Jacques Rivette. ~ Hal Erickson, Rovi