Masculin Féminin Poster

Masculin Féminin (1966)

Drama  
Rayting:   7.6/10 12.9K votes
Country: France | Sweden
Language: French | Swedish
Release date: 22 March 1966

A romance between young Parisians, shown through a series of vignettes.

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Criss779 7 August 2009

There is a Godard that we cannot stand. He loves to talk about politics in his movies, but in much of them he talk with passion but without pity and let that the spectator forget about his voice and the message goes beyond redemption. Nothing of this happen in this masterpiece.

Here, Godard told us the story of a man (Leaud, in a very Antoine Doinel aura) and woman (Beautiful yé-yé singer Chantal Goya)in 15 scenes. And the experience is breathtaking. It incorporate the politics in the sex of each one, at the end, their souls and their bodies are fulfilled of this mentality. And we believe him, because we are men and women ... and we understand it.

And of course, our characters, love be young. Love to run, to sing, to have sex, love to love and to be loved. With the thing that made BANDE À PART a great experience, MASCULINE FEMENINE is in definitive one of Godard best work. The less pretentious, enjoyable and human. Criterion got an excellent copy of it.

CihanVercan 22 August 2009

Fmovies: In 1960s' France, when there is rebellion against every reigning doctrine inside the mind of youth culture; Godard particularizes the downgrading of youth in different cases. Honored with Silver Berlin Bear for his influential leading part, Jean-Pierre Leaud symbolizes French New Wave with playing a captious character by means of critical attitudes. So wisely, Godard doesn't force the story to describe this leading character. Instead he let his leading actor become the viewer. Of every moment at all the scenes Godard puts us in his shoes. When we start laughing at an ironic situation, he became the one who is making fun of the person in the irony. When we start feeling bored of a conversation, he became the one disturbing the talkers. When we start getting confused of the happenings, he came to create his own scene.

Not only leading the script, the story and the other actors; Jean- Pierre Leaud also leads us to be part of his daily life, to realize his ambitions. Step by step he charms Madeleine with asking dead-end questions and helping her finding the impossible answers. Even though Madeleine ideally never liked him, she found herself pregnant and realized he has become the one that will share her fate in a little while. You would be impressed how fabulously, Paul convinces Madeleine and her roommate to share the same house, same room and to sleep in the same bed altogether. If this has been Bernardo Bertolucci's "The Dreamers" you wouldn't be amazed that much.

Masculin Feminin is a conversation-based movie of philosophy and youth sociology and has the governing idea that even with the feminism women still are under the sway of masculinity. It's centering on masculinity. There is also a hidden analogy here that; as socialism being nothing but a rebellion to the eyes of democracy, so is feminism being nothing but a rebellion to the eyes of a man's self-knowledge. The character profiles are very well sculptured. It inspires confidence over the impossible-to-understand woman characteristics. Yet, for me the best issue is that the story-telling is very confusing, out-of-order; so that it's not really down-to-earth at all.

crow-50 8 January 2000

Godard's film Masculine Feminine filled with random scenes sounds off like the gun shots that appear at the beginning of each of the fifteen scenes. Although the film briefly explores the differences between women and men, Godard spends more time exploring the social problems of the 1960's and the difference between Capitalism and Communism, not to mention his endorsement against the Vietnam War.

Violence plays a role here, but a detached one. Two suicides, two homicides and an accidental death occur, but the characters act matter a fact about these occurrences. In fact, the characters react more strongly to events in a movie. It's almost as if the filmmaker is saying that people react emotionally to characters in movies, but remain detached at real life events.

On one hand, the pop vocalist character proclaims that she is a member of the Pepsi Generation, but her boyfriend, Paul who is a bit of a revolutionary makes the statement that if a person murders someone it's a crime, but if an army kills 1,000's of people, they're heroes. These two characters get along because they both live in his or her own world and neither tries to pursuade the other to see his or her views. So there is no outer conflict between the two characters.

What's most interesting about Masculine Feminine is the way the director shot his actors in single shots creating a documentary style as the characters interview each other about their views on sex, love and politics. Unfortunately only the men had interesting comments about politics while the women leaned towards Capitalism and materialism. I find this a bit sexist.

This film was part of the French New Wave and so it is respected for it's innovative departure from films that actually tell stories. However, by taking the camera and sound equipment to the streets, interesting ideas are presented here.

I respect Godard for making the films that he wanted to make and for leading the French New Wave Movement, but I wish that I knew the point to this film. I expected a more profound film.

zetes 11 March 2002

Masculin Féminin fmovies. That alternate title for Masculin Feminin, The Children of Marx and Coca-Cola, is provided in the middle of the film. It is probably the most famous thing from it. It's actually a good title. Politics and pop culture mix in odd ways in the film, and the characters are uncertain about both of those aspects of their lives.

Truth be told, Masculin Feminin is a lesser work by Jean-Luc Godard. It was made during a difficult period in his life: his relationship with Anna Karina, his wife and favorite actress, star of many of his early films such as Le petit soldat, Une femme est une femme, and especially Vivre sa vie, was falling apart. Therefore, this particular film is very bitter and hopeless. Godard is also unsure of where he's going. The film stars Jean-Pierre Leaud, who is most famous for playing Antoine Doinel in such Truffaut films as The 400 Blows. His girlfriend is played by Chantal Goya, who was a pop star at the time (and she plays an up-and-coming pop singer in the film). The film loses track of its supporting players. They are omnipresent, but when they have scenes without Leaud or Goya, the film gets tedious. Godard doesn't know what he's doing with them. This is especially true of a long scene where Leaud's best friend tries to court Goya's best friend in a kitchen. He asks her many questions, but they are all very trite ones about her sex life. I swear, he asks the same three questions a dozen times each. It gets old fast, and the scene lasts forever. There are several good sequences, but nothing that really equals the best of Jean-Luc Godard. Perhaps its real value is in its editing. Godard's editing is always interesting, and Masculin Feminin shows us his skill with long takes. Also, there are a couple of great tracking shots. 7/10.

lqualls-dchin 20 October 2007

Godard's MASCULINE FEMININE is a very difficult film to discuss for those of us who saw it when we were young, and felt an immediate correspondence to the film. In 1966, MASCULINE FEMININE seemed to sum up our feelings: our interest in (radical) politics, our passion for forms of pop culture (especially pop music), our friendships. Godard was the filmmaker who seemed to be making films in the "now", just as soon as events happened. Protests over the Vietnam War raged everywhere, and Godard puts those in the film. On a personal level, the birth control pill was just starting to make its way on the market, and this was also shown.

But it wasn't just the immediacy that marked Godard's films as special, it was the sense of love that envelopes the film. The close-ups of Jean-Pierre Leaud, Chantal Goya, Marlene Jobert and all the others seem to catch these young people at their most vulnerable, their most charming, and their loveliest. Godard seemed genuinely concerned, fascinated, and enthralled by these young people. Of course, there are some difficulties (the ending is like a punch in the stomach; in the interview with Chantal Goya which is an extra on the Criterion Collection DVD, Goya reveals that the Godard insisted on the ending, because he wanted the contrast between Goya's childlike beauty and the horror of what she's saying), but it is a film which still maintains its hold on the affections of so many who loved the film in their youth. And i think the film is like a time capsule, and has much to show new audiences about a special time in the 20th Century.

dbdumonteil 3 July 2009

It's strange this movie has not a single French comment.More than any Godard movie (I must confess I'm not a Godard fan,by a long shot),this one depicts a world now gone ,the world of the French sixties youth ,of the "Mademoiselle Age Tendre" magazine ,the world where a "pop" singer Chantal Goya used to sing "Si Tu Gagnes Au flipper" ("Should you win if you play pinball,then you've lost my heart ,'cause I know you've dated my best friend" exciting huh?).Every year the trendy girls used to elect their "Mademoiselle Age Tendre" and the winner had tons of presents and had the privilege of dining with Johnny Hallyday,Françoise Hardy and other "pop" stars of the era.Godard shows one of the lucky recipients and for once he displays some humor.Abortion and suicide did not exist in the sixties youth world they (magazines and radios) built for them,but in Godard's flick,they loom in the background.The director makes a tricky use of the words "féminin" and "fin".It's Marlene Jobert's first important part.

You had to be here ,I guess.For people who did not live in France in the sixties ,it is an honest time capsule

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