In Praise of Love

Cecile Camp, Bruno Putzulu

Directed by Jean-Luc Godard
Rolling Stone: star rating
5 3
Community: star rating
5 3 0
September 6, 2002

Leave it to master provocateur Jean-Luc Godard, 71, to lay on the hottest love-it-or-hate-it movie around. The plot barely exists: A director (Bruno Putzulu) wants to make a film, a play or an opera involving three couples of various ages (young, adult, elderly) and the four stages of love (the meeting, the physical passion, the quarrels and separation, the reconciliation). The film starts in the present, which Godard (ever the contrarian) shoots in black-and-white, while he films the past in the most modern manner: in color on video. Godard has traded the dazzle of his 1960s cinema (Breathless, Bande a Part) to focus on cinema as political dialectic (Germany Nine Zero, JLG/JLG), but his passion hasn't abated. Nor has his anger, which he once expressed by saying, "My aesthetic is that of the sniper on the roof." The former critic who once celebrated Hollywood auteurs (Howard Hawks, Vincente Minnelli, Nicholas Ray) uses his new film to denounce the makers of Titanic and The Matrix and the likes of Julia Roberts and Steven Spielberg. The director of Schindler's List is rabidly attacked by Godard for exploiting the Holocaust. For all its bile and incoherence, In Praise of Love is filled with haunting images and insights. Godard may be a lion in winter, but the lion still roars.

Movie Review Main Next


Community Guidelines »
loading comments

loading comments...


Sort by:
    Read More

    Movie Reviews

    More Reviews »
    Daily Newsletter

    Get the latest RS news in your inbox.

    Sign up to receive the Rolling Stone newsletter and special offers from RS and its
    marketing partners.


    We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

    Song Stories


    Lou Reed | 1972

    Opening Lou Reed's 1972 solo album, the hard-riffing "Vicious" actually traces its origin back to Reed's days with the Velvet Underground. Picking up bits and pieces of songs from the people and places around him, and filing his notes for later use, Reed said it was Andy Warhol who provided fuel for the song. "He said, 'Why don't you write a song called 'Vicious,'" Reed told Rolling Stone in 1989. "And I said, 'What kind of vicious?' 'Oh, you know, vicious like I hit you with a flower.' And I wrote it down literally."

    More Song Stories entries »