The greatness of “Contempt” I find is that the tension between history and modernity, “real” or “unreal,” that Jean-Luc Godard, with his unique touch of eternity beauty, wants us to see but the people in the story, tragically, cannot. “Contempt” is one of the few movies I find addressed to the intrinsic problems of the pure relationship of modernity. The free-floating nature of love which builds on mutual trust and intimacy which are closely related to the negotiation of self-identities (Michel Piccoli being a writer for the screen (for money and for eros), for play (his super-ego), for power (through his wife as ‘gift’); Brigitte Bardot being a member of lower social class (typist), dependent housewife and fantasy of power (being mistress of conspicuous, wily, crude and powerful American producer). Yet, harmony of nature (husband-wife relationship) seems to be at odd with modernity (demand for private sphere, negotiating of self-authenticity) which is conditioned by capitalism (money for new home, living, freedom in choice of work (for play not for screen), for ‘art’ not for market. Intimacy requires self-disclosure through communications (the sender and receiver on the message of love) which seems always go wrong.
Reference:
Giddens, Anthony. 1991. Modernity and Self-Identity: Self and Society in the Late Modern Age. Cambridge: Polity Press.
Reference:
Giddens, Anthony. 1991. Modernity and Self-Identity: Self and Society in the Late Modern Age. Cambridge: Polity Press.
