In 1980, when it premiered Sauve Qui Put (La Vie) By Jean-Luc Godard, I Had Formula 1 Fever. I had become a fan through foreign magazines like Sports car Which was lazy from car magazines, with paper couch And the fold-out poster. In addition to sports interest, I saw in races allegory or metaphors of something that I would have liked to convey. Speed, risk, accidents, advertising, competition: concepts that were part of that new world of the eighties, very different from the progressive world of our older brothers. gotta see Sauve Qui Put (La Vie) in Casablanca cinemas in the Jardinetes de Grcia in early 1981, when it premiered. And I was surprised that, out of the blue, Goddard displayed the McLaren M28, the car that John Watson and Patrick Tambe drove at the 1979 Formula 1 World Championship, with discreet results. In my memory, McLaren hit the road and stopped at a gas station. The couple made a stellar impression in the middle of a bad avenue story.
The overlapping of various scenes, dramas with contemporary references, critiques of the capitalist exploitation system, were the elements of Goddard’s cinema that attracted you. I wondered if, as he was telling an everyday story filmed through a window, a poster came across in silent films with Lenin’s phrase “nous somms des cadavers en permission” or he showed you its cover. Dix-huit leçons sur la societé industrielle By Raymond Aron: A Mix of Books and Films, Fiction and Essays. and humour. When My Girlfriend Least Expected It, I Used the Famous Phrase bout de soufflé , In her room, Patricia wants to share her world with Michelle. is reading wild palm tree and asks if he knows William Faulkner. “Did you fuck her?” Mitchell tells him, who is in awe of Faulkner. I said this to just about any writer, film actor or footballer who came into the conversation, as if it were Jean-Paul Belmondo. “Look, you’re a chump!”
He is reading ‘Wild Palms’ and asks if he knows William Faulkner. “Did you throw it away?”
I didn’t think much of the McLaren M28 Souwe Qi Put (Life), until, as a result of Goddard’s death, I ended up on the page of the magazine L’Auto-Journal. It turns out that they had got him under control too. Nicolas Carpentiers devoted a long article full of interesting details to it. It turns out that McLaren does not enter to pour petrol. Much better: It takes a person who goes down to leave a letter in the mailbox. Goddard follows actress Nathalie Bay, who is riding a bicycle, in slow motion, and compares the image to the petromasculinity of Formula 1. Beside McLaren, some people ask a girl to decide on either of them. They symbolically represent Nathalie’s dilemma: live a quiet life or go back to Paul. There is only one place in Formula 1: you have to find your own way. All this in one car magazine. O France! Long live experimental cinema!