Jean-Luc Godard, who died today, at age 91, did more than transform the aesthetic and the practice of filmmaking—he turned the cinema into the central art form of his time, tnyfrontrow writes.
, who was born in 1930, in Paris, and died on Tuesday, at his home in Rolle, Switzerland, by assisted suicide. Godard’s films of the nineteen-sixties, starting with his first feature, “Breathless,” inspired young people to make movies in the same spirit in which others started a band.
Godard was raised in bourgeois comfort and propriety—his father was a doctor, his mother was a medical assistant and the scion of a major banking family—and his artistic interests were encouraged, but his voyage into the cinema was a self-conscious revolt against his cultural heritage. He sought a culture of his own, and, with his largely autodidactic passion for movies, he found one that was resolutely modern—and that, with his intellectual fervor, he helped raise to equality with the classics.
Many of the commonplaces of modern cinema bear the watermark of Godard, starting with one that he himself had trouble living down—the jump cut, which he used in “Breathless” when he had to shorten it to ninety minutes. He preferred merely eliminating segments of shots to eliminating whole scenes. Before Godard, the jump cut was a mistake, a sign of amateurism; in his hands, it was a cymbal crash announcing that the rules of cinema were meant to be broken.
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