Jean-Luc Godard’s “King Lear” (1987) has been rescued by The Criterion Collection.
The home video distributor restored an unavailable art film by Jean-Luc Godard and released it with improved quality to the general public. Among all of Godard’s films, this one is undeniably one of his most bizarre creations. The remake has a captivating history behind it that is just as intriguing as the movie itself.
At the Cannes Film Festival, Godard, a renowned filmmaker known for avoiding conventional, ordinary works, agreed to make a movie based on “King Lear” by Shakespeare with Menahem Golan and Yoram Globus from Cannon Films – all on a napkin! Given his unique style, it was expected that his adaptation of “King Lear” would be unlike any other.
Yet, no one could have imagined it would result in a work this baffling.
In this film, Godard chose Norman Mailer and his daughter for significant roles initially, but they both left after only a day of shooting. Later, Molly Ringwald took on the role of Cordelia, while Burgess Meredith portrayed “Don Learo.” Notably, Peter Sellars, who is renowned as a director, was cast as “William Shakespeare Jr. the Fifth” in this production, although he should not be confused with the famous comedian, Peter Sellers, known for his work in “The Pink Panther.
Sellars’ character navigates a world post-Chernobyl, where language is scarce yet vital for survival. The narrative is loosely structured, focusing on the quest to gather, cultivate, and reintroduce lost linguistic expressions. A prologue featuring images of renowned directors (such as Fritz Lang and Francois Truffaut) precedes scenes filled with witty, philosophical dialogue combined with passages from Shakespeare’s works.
Additionally, you’ll find Godard portrayed as Professor Pluggy. This unconventional figure, far from being reminiscent of Shakespeare, conceals the mysteries of the world. His dreadlocks are unique, fashioned from electrical cords, and he communicates in a deep, gruff tone (luckily, captions are available for those who may need them).
This entire production is supervised by a universally knowledgeable movie editor, Mr. Alien, portrayed by Woody Allen. Various sequences are accentuated with the cries of seagulls. Let me emphasize, this storyline can be quite eccentric!
For the very first time, I encountered this particular piece during a film appreciation and history course I conducted many years ago in Colorado Springs. The class focused on rare and scarcely accessible films that weren’t widely available for viewing back then.
I spent a year finding copies that could be viewed in the screening room provided.
On my course schedule, I found titles such as “Stanley Donen’s ‘Movie Movie’ from 1978”, “Johnny Depp’s ‘The Brave’ from 1997”, and Wim Wenders’ extended version of “Until the End of the World” (1991). Also included were hard-to-find cult films, like “The Stepfather” directed by Joseph Ruben in 1987, as well as “Howard the Duck” from Willard Huyck in 1986.
In our class, we explored a diverse array of movies that were entirely unfamiliar to the students. Few had previously encountered the specific titles we discussed.
Among all subjects discussed in the curriculum, “King Lear” certainly piqued my interest the most. You know, it’s as if we’re talking about a classic art film starring Molly Ringwald, Burgess Meredith, and Woody Allen, directed by the same visionary who brought us “Breathless” (1960).
Following a talk that delved into the troubled past of the movie, established foundations on Godard, Shakespeare, and the upcoming experience, I screened the film using a VCR. The audience showed signs of bewilderment at certain moments, awkwardly laughing here and there, but expressed audible delight in other instances.
After it concluded, there was a burst of laughter followed by an engaging conversation among everyone, expressing that while many students disliked the movie, they found it remarkably intriguing nonetheless.
As a film enthusiast, I often immerse myself in films that challenge my perspective, and “King Lear” is one such masterpiece. It was screened in a Lost Films class, offering an intriguing experience for those who believe they’ve already seen it all.
Godard’s movie embodies both a defiant directorial stance and an investigation into his own creative journey within an improvised setting. Unlike delving deeply into Shakespeare, it offers insights on the intricate process of adapting his works and how individual and collaborative imagination mold the final piece of art.
— Eyes On Cinema (@RealEOC) January 7, 2020
If you’ve made it this far and find yourself curious rather than shouting “Withdraw!” and departing, I strongly suggest giving the movie a watch, followed by checking out the exceptional Bonus Content on the Criterion disc. The most vital among these is a compelling recollection by Ringwald detailing her personal experience with the project.
Robin Wright’s memories are frank and colorful, yet they show her continued reverence for Godard and the one-of-a-kind nature of the encounter. On the other hand, Sellars guides the retrospective conversation, focusing more on the collaborative artistic journey rather than critiquing the project’s disorderliness.
It’s highly recommended to watch both, but don’t miss out on watching Molly Ringwald reminisce about one of her most outrageous films (released immediately after “Pretty in Pink” in 1986 and when she was featured on the cover of Time Magazine as a representative of her generation). It’s truly worth your time.
For me, Shakespeare’s “King Lear” remains a bit puzzling because I sometimes struggle to understand director Jean-Luc Godard’s perspective. Does he intend to challenge my interpretation of adaptation or is he poking fun at me for even watching this play? Is this one of his most complex masterpieces or is it his version of “The Emperor’s New Clothes”?
I still don’t know.
Godard’s film “Hail Mary” (1985), often met with controversy among Catholics due to its unconventional perspective on the Virgin Birth, can be seen as surprisingly logical when viewed through a post-modern lens.
Among Godard’s films, I highly recommend “Contempt” (1963) for your viewing pleasure. This movie is a standout in my list of favorite films about the art of cinema, featuring Brigitte Bardot and a young Jack Palance. In it, Fritz Lang, portraying himself, grapples with the challenges of directing a film adaptation of “The Odyssey.” I’m looking forward to discussing this movie further when Christopher Nolan’s remake of “The Odyssey” draws closer to release.
Generally speaking, many consider “Breathless” (1960) to be Jean-Luc Godard’s masterpiece, and it is indeed remarkable. However, I personally lean towards “Contempt” (1963), another intricate work from Godard that delves into filmmaking and the creative process as a form of rebellion. Yet, unlike “Breathless,” I find “Contempt” to be more accessible for a broader audience.
Additionally, we have “Bands of Outsiders” from 1964, a reinterpretation of the musical “A Woman is a Woman” dating back to 1961, the tense hostage drama “Tout va Bien!” starring Jane Fonda from 1972, and the intriguing film noir “Detective” released in 1985.
Godard’s most notable movies delve into the innovative aspects of cinema and his unique methods of artistic filmmaking expression. Interestingly, it is only in “King Lear” that Godard can be heard saying, “Mr. Alien!”, followed by a scene where Allen mends film reels using a needle and thread.
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2025-06-15 05:03