Director: Jean-Luc Godard
Writer: Jean-Luc Godard
Starring: Eddie Constantine, Anna Karina, Akim Tamiroff
Runtime: 98 min
Rating: PG
Many things have been said about Alphaville that could be used to inform oneself about this classic Godard film. It is an experience, however, that has to be lived through one’s own eyes, as it holds nothing but rewards for the spectator. In one of Godard’s most thrilling works, technology, mystery, and passion come together to create a universe that is sure to astound.
Alphaville follows the journey of reserved detective Lemmy Caution (Eddie Constantine) as he ventures into “Alphaville,” a futuristic galaxy full of mystery where robot-like humans live under the iron fist of a supercomputer called Alpha 60. Undercover as a journalist, Caution is set to understand the goings on of the strange place and return home to the Outlands (Earth). While pursuing a scientist, he is put in contact with his daughter, Natasha Von Braun (Anna Karina), who, along with Caution, will expose the audience to the terrible rule of von Braun, a man who leads with absolute reason, and sees no space for love and tenderness.
For those used to your regular action-packed thriller, Alphaville is a wonderful breath of fresh air and an original take on the sci-fi genre, which is more concerned with the dynamics of the system in the future, rather than exposing fantastical worlds, monsters, and weapons. While it might not be as fast-paced or entertaining as one of said sci-fi films, it is certainly a piece that leaves the spectator with that uneasy feeling of uncertainty about the future, and makes them wonder where humanity is headed. Personally, I like these sci-fi films the most, because they often expose awful truths about the human condition, no matter in what year they are viewed. In Alphaville, Godard utilizes technology and supercomputers to illustrate how the digitalization of society might result in the end of its emotional side, and give way for an entirely analytical, reason-driven future. The beauty of the film, however, is the fact that one can’t help but wonder if this reality is good or bad; who is to say that that which Alpha 60 preaches is not, in fact, correct.
Despite being a more story-driven film than other Godard works, it still retains most of his usual characteristics. The political undertones are quite obvious in most of the film, which is drenched in that highly critical Godard style. Women are still in pursuit of money, and are still the commodities of men. And, of course, Anna Karina, who delivers a cryptic and solid performance as the robotic daughter of the despotic ruler of Alphaville. Although her relationship with Caution develops quite quickly and without explanation, there can be no doubt in the spectator’s heart that what Natasha feels is real love. The same, sadly, cannot be said of Constantine, who, despite having to play the part of a hard-headed, ultra-masculine secret agent, could always use more looseness when delivering lines. His abrupt way of speaking, however, does give the film a certain amount of comedy. The same goes for the film’s repetitive soundtrack, which makes ample use of the same piece of music for most of the film, and turns quite comical in the least appropriate times.
Alphaville is flawed in certain aspects, but at the end of the day is still considered a pioneer in the sci-fi genre, and with good reason. It provides an interesting story that resonates in society, and manages to be quite entertaining as well. Lovers of the genre will find a jewel in this piece, while others will find an alternative to the usual sci-fi that Hollywood has accustomed us to.
