First of all, the supposed obscurity or the film. The first bit, 'The Book of Mary', is a short directed by Godard's partner and long-time collaborator, Anne-Marie Mieville. Its main connection with 'Hail Mary' is that the girl, Mary, is called Mary... Oh, and that the two films are always shown together.
Watching 'Hail Mary' while the religionists are fighting one of their wars, I find it embarrassing to admit I noticed, but: there's nothing obscure about the film; it's a dead straight retelling of all that bible stuff. A lot of the film's pleasure is recognition: oh, that was The Annunciation! Look, Jesus has run off to the Temple! Of course, Eve and her Czech emigre lover don't have anything to do with Mary and Joseph, but as soon as you realise that it's him, rather than her, who's important, it becomes clear: Oh, yeah, he's that 'voice crying in the wilderness', making ways straight, etc, John the Baptist! This is where the problems start. Visually, the film's amazing: nudes, lakescapes, sunrises, moons--transcendent images are rarely so alluring. But when religious ideas are 'updated'--the baptist as a prophet of computers and Rubik Cubes; Gabriel as air-travel--they just seem arbitrary, and the attempt to preserve their transcendent qualities plays itself out as farce. By the end, despite the technical accomplishment, I'm left thinking Godard's accidentally remade Life of Brian.
Worth seeing for the glimpse of Binoche, though, while she's still the sexiest hen about, and before The New Bridge Lovers turned her face into a bourgoise fetish.
Watching 'Hail Mary' while the religionists are fighting one of their wars, I find it embarrassing to admit I noticed, but: there's nothing obscure about the film; it's a dead straight retelling of all that bible stuff. A lot of the film's pleasure is recognition: oh, that was The Annunciation! Look, Jesus has run off to the Temple! Of course, Eve and her Czech emigre lover don't have anything to do with Mary and Joseph, but as soon as you realise that it's him, rather than her, who's important, it becomes clear: Oh, yeah, he's that 'voice crying in the wilderness', making ways straight, etc, John the Baptist! This is where the problems start. Visually, the film's amazing: nudes, lakescapes, sunrises, moons--transcendent images are rarely so alluring. But when religious ideas are 'updated'--the baptist as a prophet of computers and Rubik Cubes; Gabriel as air-travel--they just seem arbitrary, and the attempt to preserve their transcendent qualities plays itself out as farce. By the end, despite the technical accomplishment, I'm left thinking Godard's accidentally remade Life of Brian.
Worth seeing for the glimpse of Binoche, though, while she's still the sexiest hen about, and before The New Bridge Lovers turned her face into a bourgoise fetish.