{"id":37508,"date":"2025-10-13T18:16:39","date_gmt":"2025-10-13T16:16:39","guid":{"rendered":"https:\/\/husbands-paris.com\/en\/?p=37508"},"modified":"2025-10-13T18:16:39","modified_gmt":"2025-10-13T16:16:39","slug":"the-men-of-jean-luc-godard","status":"publish","type":"post","link":"https:\/\/wpadmin.husbands-paris.com\/en\/journal\/the-men-of-jean-luc-godard\/","title":{"rendered":"THE MEN OF JEAN-LUC GODARD"},"content":{"rendered":"\n
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Jean-Luc Godard\u2019s cinematic modernism is full of mid-age swagger\u2013\u2013think of Michel Piccoli\u2019s floppy ties and open collar shirts\u202fin Le Mepris <\/em>[1963] <\/em>or the trench coated men of the dystopian Alphaville <\/em>[1965]. Yet, <\/em>most memorable, perhaps, are Godard\u2019s youthful, idealistic characters\u2013\u2013the \u201cchildren of Marx and Coca-Cola\u201d, as Godard called the younger generation. Covered in the same conservative cloth as their parents, Tartan scarfs flopping over their overcoats, Godard\u2019s radically chic teenage revolutionaries of Le Petit Soldat<\/em> [1963] or Masculin-Feminin<\/em> [1966] have stimulated, provoked, and divided audiences. In their choice of dress, the many men of Godard\u2019s films capture attitudes and tell stories that often go beyond the movies\u2019 plot.  <\/p>\n\n\n\n

\u00c0 Bout de Souffle [1960]<\/strong> <\/h2>\n\n\n\n

For his debut movie, Godard privileged style over plot: Louche-looking French gangsters and pretty-faced women in Breton striped long-sleeved shirts. Godard\u2019s characters look stereotypically French<\/em>. But the devil is in the detail. Belmondo\u2019s character pensively hides inside a generously cut herringbone coat. A silver bracelet on his wrist speaks to his libertine spirit. Elsewhere, a bald man evokes fantasies of the Italian mafia in the 1930s, wearing a double-breasted chalk-striped suit with peak lapels, but Godard titles \u201cThe Police\u201d. Godard plays with our preconceived expectations for taste to blur the lines between the good and the bad, the sinner and the saint, the moral and the immoral.  <\/p>\n\n\n\n

Bande \u00e0 part [1964]<\/strong> <\/h2>\n\n\n\n

Claude Brasseur is sporting an argyle sweater in almost every scene while Sami Frey is the more daring of the two. The now classic dance scene shows Frey wearing a double-breasted peak lapel blazer in a chalk stripe fabric. Vents could have helped Frey to move those hips more elegantly. Noticeably, his straight black trousers do not match the jacket, adding to the innocent informality of his appearance. The famous Louvre scene meanwhile gives the camel coat a newfound youthful, energetic appearance. <\/p>\n\n\n\n

Pierrot le fou [1965]<\/strong> <\/h2>\n\n\n\n

Jean-Paul Belmondo plays Ferdinand Griffon, a Parisian husband sickened of a boring life that fails to satisfy him. His business suit, far from a navy standard cut, paired with a Gallic red knitted tie speaks to his longing for a different life. In most shots, Ferdinand is wearing a slightly oversized, padded three-button wool suit with a flapped ticket pocket and double vents. The Prince of Wales check has a black-and-cream Glenurquhart plaid with a subtle but unusual red overcheck. This pattern was first known as a \u201cdistrict check\u201d in 19th century Scotland. Edward VIII, the Prince of Wales, popularised the pattern in the 1920.  <\/p>\n\n\n\n

Sympathy for the Devil [1969]<\/strong> <\/h2>\n\n\n\n

This is Godard at his most colourful and perhaps most feminine. Orange, mustard, and green panels dominate the screen. Everyone looks like a dressed-down version of Mick Jagger, with his patent leather Jodhpur boots and shirt buttons open down to the waistline. The film\u2019s aesthetics have been described as \u201cFrench Mod\u201d: extensive collars on structured shirts, a bit of flair here and a touch of paisley there. Godard arrived on set with a three-button suit with a roll lapel, three fountain pens carefully aligned in his chest pocket.<\/p>\n\n\n\n

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LATEST<\/a><\/div>\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n
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<\/span>\"Bill
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Bill Wyman, Jean-Luc Godard, Mick Jagger. Sympathy for the devil (One plus One). Royaume Uni. 1968.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Claude
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Claude Brasseur, Anna Karina, Sami Frey. Bande a\u0300 part, Jean-Luc Godard. 1964.<\/p>\n<\/div><\/div>\n\n\n\n

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<\/span>\"Daniel
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Daniel Boulanger. A\u0300 bout de souffle. 1960.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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<\/span>\"Jean-Paul
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Jean-Paul Belmondo. A\u0300 bout de souffle. 1960.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/span>\"Jean
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Jean-Paul Belmondo, Anna Karina. Pierrot Le Fou. 1965.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Jean-Luc
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Jean-Luc Godard, Brigitte Bardot, Michel Piccoli. Le Me\u0301pris. Phot. Swiners Jean-Louis. 1963.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n