{"id":178830,"date":"2022-09-14T13:17:31","date_gmt":"2022-09-14T17:17:31","guid":{"rendered":"https:\/\/www.jewishexponent.com\/?p=178830"},"modified":"2022-09-14T13:36:38","modified_gmt":"2022-09-14T17:36:38","slug":"filmmaker-jean-luc-godard-who-polarized-jews-with-israel-and-holocaust-commentary-dies-at-91","status":"publish","type":"post","link":"https:\/\/www.jewishexponent.com\/filmmaker-jean-luc-godard-who-polarized-jews-with-israel-and-holocaust-commentary-dies-at-91\/","title":{"rendered":"Filmmaker Jean-Luc Godard, Who Polarized Jews With Israel and Holocaust Commentary, Dies at 91"},"content":{"rendered":"
\"\"
The director Jean-Luc Godard in 1965. (Jacques Haillot\/Sygma\/Sygma via Getty Images via JTA.org)<\/figcaption><\/figure>\n

By Andrew Lapin<\/p>\n

In 2010, the Academy of Motion Picture Arts and Sciences announced plans to award French-Swiss filmmaker Jean-Luc Godard an honorary Oscar. Many in the Jewish community revolted.<\/p>\n

Calling on the Academy to rescind the Oscar, the right-wing Zionist Organization of America called Godard\u00a0a \u201cvirulent antisemite,\u201d<\/a>\u00a0arguing that Godard had a record of making antisemitic comments and putting antisemitic language into his films. Jewish press outlets\u00a0reported accusations<\/a>\u00a0that\u00a0the filmmaker was an antisemite<\/a>.<\/p>\n

Such claims of antisemitism were a constant throughout the long and idiosyncratic career of the pioneering French New Wave filmmaker, who died Tuesday at age 91 from assisted suicide. But for Godard, life was just an extension of cinema \u2014 all a public performance, as his Jewish biographer Richard Brody chronicled in the book \u201cEverything Is Cinema.\u201d So while Godard the filmmaker continually made his movies into an expression of radical, sometimes contradictory politics, commentators and even close friends could never be certain if Godard the person truly held those views.<\/p>\n

Even as his films included jokes about slaughtering Jews (in 1964\u2019s \u201cA Married Woman\u201d) and a line about Jews inventing Hollywood (in 2010\u2019s \u201cFilm Socialisme\u201d), he also expressed sympathy for the Jewish people, befriended Europe\u2019s leading Jewish intellectuals and engaged in rigorous, thoughtful debates about the ethics of how and when to depict the Holocaust on film.<\/p>\n

All this came amid Godard\u2019s outspoken pro-Palestinian activism. His 1976 essay film \u201cHere and Elsewhere,\u201d which he co-directed with his longtime partner Anne-Marie Mi\u00e9ville, includes positive depictions of Palestinian resistance fighters and juxtaposed former Israeli Prime Minister Golda Meir with Hitler. The film was born out of\u00a0the remnants of the duo\u2019s failed attempt<\/a>\u00a0to make a movie about Palestinian liberation, to be funded by the Arab League. According to reporting at the time by the Jewish Telegraphic Agency, a militant Zionist group calling itself \u201cAn Eye For An Eye\u201d\u00a0released stink bombs and mice into a Paris theater showing the film<\/a>, much to the anger of the theater\u2019s Jewish director, who called the attack \u201cNazi-like.\u201d<\/p>\n

Godard had\u00a0once commented<\/a>\u00a0that his grandfather \u201cwas anti-Jew; whereas I am anti-Zionist, he was antisemitic.\u201d And in 2018, he\u00a0lent his name to a filmmakers\u2019 boycott of a French event<\/a>\u00a0celebrating Israeli cinema.<\/p>\n

When he wasn\u2019t making abrasive public statements, Godard was making movies: over 100 of them during his career, including some with Woody Allen, whom he greatly admired (he cast Allen in his 1987 avant-garde rendition of \u201cKing Lear\u201d). He first came to the world\u2019s attention with his 1960 rule-breaker \u201cBreathless,\u201d about a disaffected criminal and his American girlfriend, which used frenetic editing and genre mash-ups to form a new kind of cinematic language. The movie brought the French New Wave and its accompanying stylistic innovations to the masses.<\/p>\n

More acclaimed films followed, including \u201cContempt,\u201d \u201cBand Of Outsiders\u201d and \u201cWeek End,\u201d before the filmmaker dove headlong into Maoism and began incorporating radical political statements into his movies, embracing the outermost fringes of the art-house circuit. Decades later, he continued to push against the limits of what cinema could be with essayistic collages about a range of sociopolitical ideas, and even a 3-D film late in his career (2014\u2019s \u201cGoodbye To Language\u201d).<\/p>\n

Throughout, Godard was seen in the film world as a complex figure, a globally revered artist who enjoyed challenging conventional wisdom and getting a rise out of his contemporaries \u2014 including about the role cinema should play in Holocaust memory.<\/p>\n

He (mostly) politely sparred with French Jewish contemporary\u00a0Claude Lanzmann, director of the landmark documentary \u201cShoah,\u201d<\/a>\u00a0over the ethics of Lanzmann\u2019s approach to depicting the Holocaust without using any archival images. (Godard\u2019s own work leaned heavily on archival images, which he saw as more ethical and authentic.) Yet Godard was also a huge admirer of \u201cShoah,\u201d and he planned to undertake a series of debates about it in the late 1980s with Lanzmann and French Jewish intellectual Bernard-Henri L\u00e9vy, according to an account in Brody\u2019s book.<\/p>\n

By L\u00e9vy\u2019s own account, which he published in 2010 when the Oscar-related antisemitism charges against Godard surfaced, the three men shared a\u00a0\u201ctone of friendship and relaxation.\u201d<\/a><\/p>\n

Plans to film such debates largely fell through. But in Godard\u2019s eight-part video essay \u201cHistoire(s) du Cinema,\u201d released between 1988 and 1998, he returned to the subject of how to film the Holocaust, crafting montages of its various depictions as a way of critiquing them. Godard was interested in \u201cthe relationship between historical trauma and the capacity of the image to represent or depict that trauma,\u201d as academic\u00a0Miriam Heywood<\/a>\u00a0described it.<\/p>\n

If Godard disagreed with but ultimately respected Lanzmann\u2019s depiction of the Holocaust, the same couldn\u2019t be said for his views on Steven Spielberg. Godard\u2019s 2001 feature \u201cIn Praise Of Love\u201d proved controversial because it served as a harsh takedown of \u201cSchindler\u2019s List.\u201d In the director\u2019s typically elliptical way, parts of \u201cPraise\u201d depict an elderly couple who fought in the French Resistance being approached by representatives of \u201cSpielberg Associates\u201d to sell the life rights to their story; elsewhere, the film openly accuses Spielberg of abandoning Oskar Schindler\u2019s widow without proper compensation while profiting from her husband\u2019s story. Spielberg was defended by most American critics at the time, with Roger Ebert calling Godard\u2019s ire\u00a0\u201cpainful and unfair.\u201d<\/a><\/p>\n

Yet filmmakers and cinema scholars alike were paying full tribute to Godard as a titan of the medium on Tuesday. \u201cIf you love movies and are interested in how they developed over the last century, you have to keep checking in with Jean-Luc Godard\u2019s films periodically throughout your viewing life,\u201d Jewish film critic and historian Mark Harris tweeted at news of his death. \u201cThere\u2019s no way to grasp fully how movies got from there to here without him.\u201d<\/p>\n

As for the Oscars, they gave Godard their lifetime achievement award \u2014 over the objections of many Jewish groups at the time. But the filmmaker, combative to the end, didn\u2019t bother traveling to the ceremony. He said the award \u201cmeant nothing to me.\u201d<\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

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