"Contempt" is based on a novel of the same name by Alberto Moravia, the same writer who wrote the novel on which "Il conformista" (1970, Bernardo Bertolucci) was based. The novel interpretes the relationship between Odysseus and Penelope from Greek mythology.
In fact "Le mepris" is however a film that is about making films. In this respect "8,5" (1963, Federico Fellini) comes to mind, but there are a few differences.
"8,5" is about a director, "Le mepris" is about a sceenwriter (Paul Javal played by Michel Piccoli).
In "8,5" the director has artistic problems (a "writers block"), in "Le mepris" the screenwriter has problems to finance an arthouse movie because the American producer is more interested in making profit. This theme of course fits in perfectly with the emphasis the "Nouvelle vague" (of which Jean Luc Godard was a prominent member) puts on "cinema de auteur".
In "8,5" the director tries to solve (or hide?) his problems by accumulating more and more women. In "Le mepris" the sceenwriter risks to lose his wife Camille (played by Brigitte Bardot). Much to Camille's annoyance her husband seems to use her as bait towards the producer to solve his problems.
The casting of "Le mepris" deserves attention in more than one respect. In 1963 Brigitte Bardot was a big star and sex symbol, but generally not associated with "serious" films. She broke through with "Et Dieu ... crea la femme" (1956, Roger Vadim). In "Le mepris" Godard casts this famous (and expensive?) star, but does not use her "unique selling point". That is to say, Bardot has only one nude scene in which she is illuminated very badly so that one can barely see anything.
This of course fits in with the theme of the film. A director gives in to the wishes of the producer to cast a big star but subsequently uses her according to his own wishes. It is however not so nice (not to say showing contempt) towards Brigitte Bardot. Godard casts her in a serious movie but does not allow her to prove that she belongs there. In this respect Henri Georges Clouzot showed more respect in "La vérité" (1960).
The other lead actor was a more pleasant surprise to me. Until now I had seen Michel Piccoli mainly as an old and wise man. "Le mepris" is an early performance in which he plays a young and insecure character.
Jean Luc Godard is a famous director. His heydays were in the early sixties. I have seen three films from this period ("A woman is a woman" (1961), "Vivre sa vie" (1962) and "Le mepris" (1963)). To be honest, I am not impressed. As a film about making films "8,5" is in my opinion much superior.
In fact "Le mepris" is however a film that is about making films. In this respect "8,5" (1963, Federico Fellini) comes to mind, but there are a few differences.
"8,5" is about a director, "Le mepris" is about a sceenwriter (Paul Javal played by Michel Piccoli).
In "8,5" the director has artistic problems (a "writers block"), in "Le mepris" the screenwriter has problems to finance an arthouse movie because the American producer is more interested in making profit. This theme of course fits in perfectly with the emphasis the "Nouvelle vague" (of which Jean Luc Godard was a prominent member) puts on "cinema de auteur".
In "8,5" the director tries to solve (or hide?) his problems by accumulating more and more women. In "Le mepris" the sceenwriter risks to lose his wife Camille (played by Brigitte Bardot). Much to Camille's annoyance her husband seems to use her as bait towards the producer to solve his problems.
The casting of "Le mepris" deserves attention in more than one respect. In 1963 Brigitte Bardot was a big star and sex symbol, but generally not associated with "serious" films. She broke through with "Et Dieu ... crea la femme" (1956, Roger Vadim). In "Le mepris" Godard casts this famous (and expensive?) star, but does not use her "unique selling point". That is to say, Bardot has only one nude scene in which she is illuminated very badly so that one can barely see anything.
This of course fits in with the theme of the film. A director gives in to the wishes of the producer to cast a big star but subsequently uses her according to his own wishes. It is however not so nice (not to say showing contempt) towards Brigitte Bardot. Godard casts her in a serious movie but does not allow her to prove that she belongs there. In this respect Henri Georges Clouzot showed more respect in "La vérité" (1960).
The other lead actor was a more pleasant surprise to me. Until now I had seen Michel Piccoli mainly as an old and wise man. "Le mepris" is an early performance in which he plays a young and insecure character.
Jean Luc Godard is a famous director. His heydays were in the early sixties. I have seen three films from this period ("A woman is a woman" (1961), "Vivre sa vie" (1962) and "Le mepris" (1963)). To be honest, I am not impressed. As a film about making films "8,5" is in my opinion much superior.