Détective
Jean-Pierre Léaud, from Antoine Doinel to Louis XIV
March 29 - April 6, 2017
“I’m a renaissance painter looking for commissions,” said Godard of this project, which began as a gleam in producer Alain Sarde’s eye: Paris, pulp fiction, Claude Brasseur, Nathalie Baye, Johnny Halliday, and an aging Jean-Pierre Léaud (in various disguises).
“I’m a renaissance painter looking for commissions,” said Godard of this project, which began as a gleam in producer Alain Sarde’s eye: Paris, pulp fiction, Claude Brasseur, Nathalie Baye, Johnny Halliday, and an aging Jean-Pierre Léaud (in various disguises). After Godard and Anne-Marie Miéville finished adapting Sarde’s story, the stuff about gangsters, detectives, and bad debts became a backdrop for the relationship between Brasseur’s Emile and Baye’s Françoise. A fraught shoot, but it resulted in a lovely film with surprising bursts of passion. Print courtesy of the Institut Français.
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