- #The rolling stones sympathy for the devil movie#
- #The rolling stones sympathy for the devil plus#
- #The rolling stones sympathy for the devil free#
JLG had initially planned to make a film about Trotsky, starring John Lennon as the Russian revolutionary the project was nixed after two meetings with the Beatle, who “was extremely suspicious of Godard.”
#The rolling stones sympathy for the devil free#
As Colin MacCabe recounts in Godard: A Portrait of the Artist at Seventy (2003), the filmmaker, although indifferent to free love and drugs, was fascinated by the third element of the counterculture trifecta: rock music. Made in the weeks following the insurrections in France of May ’68-events that included Godard and his Nouvelle Vague confrere François Truffaut leading the charge to shut down the Cannes Film Festival in solidarity with the nation’s striking workers and students- Sympathy for the Devil emerged from a scrapped plan.
#The rolling stones sympathy for the devil movie#
Sympathy for the Devil was JLG’s first feature-length project after Weekend (1967), a bourgeois-bashing, obsidian-black comedy that famously includes a closing credit declaring “FIN DE CINEMA.” Shortly after completing Sympathy for the Devil, Godard would renounce authorship altogether, forming, with Jean-Pierre Gorin (and others), the Dziga Vertov Group, a collective devoted to ultra-doctrinaire, extreme-left filmmaking-the furthermost reaches of a militancy first on display in Godard’s La Chinoise (1967), a boisterous movie about a Maoist-student household.
This confounding artifact of a seismic year, which screens for a week at the Museum of Modern Art in a new 4K digital restoration, functions as something of a hinge in Godard’s filmography. It demands a new math, working best when subtracted and divided. Often as transfixing as it is unendurable, the film is lesser than the sum of some of its parts. Less characteristically, the name is a misdirection: nothing adds up in this movie.
#The rolling stones sympathy for the devil plus#
One Plus One is a typically Godardian title, puckishly enigmatic. Godard had chosen One Plus One as the title for this wobbly cine-sermon, an ungainly amalgam of Maoist posturing, Black Panther proselytizing, and Carnaby Street chic. Sympathy for the Devil was not the original name for the 1968 film by Jean-Luc Godard that consists, in part, of footage of the Rolling Stones in the Olympic Sound Studios in London recording the eponymous track it was insisted upon by one of the movie’s producers. Sympathy for the Devil, directed by Jean-Luc Godard, Museum of Modern Art, 11 West Fifty-Third Street, New York City, September 13–19, 2018
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