{"id":90052,"date":"2023-02-20T00:03:55","date_gmt":"2023-02-20T07:03:55","guid":{"rendered":"https:\/\/filmfanatic.org\/?p=90052"},"modified":"2024-06-28T10:43:08","modified_gmt":"2024-06-28T17:43:08","slug":"gai-savoir-le-1969","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=90052","title":{"rendered":"Gai Savoir, Le (1969)"},"content":{"rendered":"<p><strong>&#8220;Yes, learn. All we wanted was to learn.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Poster.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Poster-207x300.png\" alt=\"\" width=\"207\" height=\"300\" class=\"alignleft size-medium wp-image-90053\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Poster-207x300.png 207w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Poster-88x128.png 88w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Poster-186x270.png 186w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Poster.png 427w\" sizes=\"auto, (max-width: 207px) 100vw, 207px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nA young woman (Juliet Berto) and man (Jean-Pierre L\u00e9aud) come together in a dark room to discuss the nature of language and learning.\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>French Films<\/li>\n<li>Jean-Luc Godard Films<\/li>\n<li>Jean-Pierre L\u00e9aud Films<\/li>\n<li>Revolutionaries<\/li>\n<\/ul>\n<p><strong>Review: <\/strong><br \/>\nShot just before and after the <a href=\"https:\/\/en.wikipedia.org\/wiki\/May_68\">French civil unrest of 1968<\/a>, this riff on Jean-Jacques Rousseau&#8217;s <a href=\"https:\/\/en.wikipedia.org\/wiki\/Emile,_or_On_Education\"><em>Emile<\/em> (1762)<\/a> was a sort of sequel to Godard&#8217;s <a href=\"https:\/\/filmfanatic.org\/?p=4535\"><em>La Chinoise<\/em> (1967)<\/a>, and a clear exception to the &#8220;end of cinema&#8221; he proclaimed in the final shot of <a href=\"https:\/\/filmfanatic.org\/?p=90024\"><em>Weekend<\/em> (1967)<\/a>. Interestingly, it received a reasonably decent review in <em>The New York Times<\/em>, with Vincent Canby noting that &#8220;Godard is still communicating with us by means of beautiful, comparatively conventional, if fragmented, images and sounds&#8221;: <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Talking.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Talking.png\" alt=\"\" width=\"960\" height=\"720\" class=\"alignnone size-full wp-image-90060\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Talking.png 960w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Talking-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Talking-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Talking-768x576.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Talking-360x270.png 360w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/a><\/p>\n<p>&#8230; as his two characters &#8220;hav[e] a discourse on language&#8221; while &#8220;the camera is constantly cutting to points of visual references\u2014Paris streets, cartoon strips, pop posters\u2014images, which, though fragmented, make complete sense.&#8221; <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Image.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Image.png\" alt=\"\" width=\"960\" height=\"720\" class=\"alignnone size-full wp-image-90059\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Image.png 960w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Image-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Image-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Image-768x576.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Gai-Savoir-Image-360x270.png 360w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/a><\/p>\n<p>&#8220;Complete sense&#8221; is a bit of a stretch; indeed, this is an intensely heady, academic affair &#8212; one which will only appeal to those ready to dive into assertions like, &#8220;We can say all we want about what we see, but what we see is never lodged in what we say.&#8221; and &#8220;The conflicts of a child, I said, are not conflicts with reality but originate from the subject&#8217;s inability to identify himself &#8212; so what is being questioned is the image of oneself.&#8221; Not exactly clear as day, but at least it&#8217;s all photographed beautifully by Georges Leclerc. <\/p>\n<p><a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/vlcsnap-2023-02-19-23h00m23s866.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/vlcsnap-2023-02-19-23h00m23s866.png\" alt=\"\" width=\"960\" height=\"720\" class=\"alignnone size-full wp-image-90062\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/vlcsnap-2023-02-19-23h00m23s866.png 960w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/vlcsnap-2023-02-19-23h00m23s866-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/vlcsnap-2023-02-19-23h00m23s866-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/vlcsnap-2023-02-19-23h00m23s866-768x576.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/vlcsnap-2023-02-19-23h00m23s866-360x270.png 360w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/a><\/p>\n<p><strong>Notable Performances, Qualities, and Moments:<\/strong><\/p>\n<ul>\n<li>Georges Leclerc&#8217;s cinematography<br \/>\n<a href=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Dictionary.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Dictionary.png\" alt=\"\" width=\"960\" height=\"720\" class=\"alignnone size-full wp-image-90056\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Dictionary.png 960w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Dictionary-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Dictionary-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Dictionary-768x576.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2023\/02\/Le-Gai-Savoir-Dictionary-360x270.png 360w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/a><\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nNo &#8212; unless, of course, you&#8217;re a Godard completist (and you know who you are). <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/title\/tt0062997\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.nytimes.com\/1969\/09\/29\/archives\/film-festival-le-gai-savoir-a-godard-abstractmovie-suggests-that.html\">NY Times Original Review<\/a><\/li>\n<li><a href=\"https:\/\/www.nytimes.com\/2017\/07\/27\/movies\/le-gai-savoir-jean-luc-godard.html\">J. Hoberman&#8217;s Review<\/a><\/li>\n<li><a href=\"https:\/\/www.timeout.com\/movies\/le-gai-savoir\">Time Out Capsule Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Yes, learn. All we wanted was to learn.&#8221; Synopsis: A young woman (Juliet Berto) and man (Jean-Pierre L\u00e9aud) come together in a dark room to discuss the nature of language and learning. Genres, Themes, Actors, and Directors: French Films Jean-Luc Godard Films Jean-Pierre L\u00e9aud Films Revolutionaries Review: Shot just before and after the French civil unrest of 1968, this riff on Jean-Jacques Rousseau&#8217;s Emile (1762) was a sort of sequel to Godard&#8217;s La Chinoise (1967), and a clear exception to&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=90052\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-90052","post","type-post","status-publish","format-standard","hentry","category-reviews"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.8 - aioseo.com -->\n\t<meta name=\"description\" content=\"&quot;Yes, learn. 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Genres, Themes, Actors, and Directors: French Films Jean-Luc Godard Films Jean-Pierre L\u00e9aud Films Revolutionaries Review: Shot just before and after the French civil"},"aioseo_meta_data":{"post_id":"90052","title":null,"description":null,"keywords":null,"keyphrases":null,"primary_term":null,"canonical_url":null,"og_title":null,"og_description":null,"og_object_type":"default","og_image_type":"default","og_image_url":null,"og_image_width":null,"og_image_height":null,"og_image_custom_url":null,"og_image_custom_fields":null,"og_video":null,"og_custom_url":null,"og_article_section":null,"og_article_tags":null,"twitter_use_og":false,"twitter_card":"default","twitter_image_type":"default","twitter_image_url":null,"twitter_image_custom_url":null,"twitter_image_custom_fields":null,"twitter_title":null,"twitter_description":null,"schema":{"blockGraphs":[],"customGraphs":[],"default":{"data":{"Article":[],"Course":[],"Dataset":[],"FAQPage":[],"Movie":[],"Person":[],"Product":[],"ProductReview":[],"Car":[],"Recipe":[],"Service":[],"SoftwareApplication":[],"WebPage":[]},"graphName":"","isEnabled":true},"graphs":[]},"schema_type":"default","schema_type_options":null,"pillar_content":false,"robots_default":true,"robots_noindex":false,"robots_noarchive":false,"robots_nosnippet":false,"robots_nofollow":false,"robots_noimageindex":false,"robots_noodp":false,"robots_notranslate":false,"robots_max_snippet":null,"robots_max_videopreview":null,"robots_max_imagepreview":"large","priority":null,"frequency":null,"local_seo":null,"breadcrumb_settings":null,"limit_modified_date":false,"ai":null,"created":"2025-07-17 05:23:50","updated":"2025-07-17 05:23:50","seo_analyzer_scan_date":null},"aioseo_breadcrumb":"<div class=\"aioseo-breadcrumbs\"><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/filmfanatic.org\" title=\"Home\">Home<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">&raquo;<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/filmfanatic.org\/?cat=1\" title=\"Original Reviews\">Original Reviews<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">&raquo;<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\tGai Savoir, Le (1969)\n\t\t<\/span><\/div>","aioseo_breadcrumb_json":[{"label":"Home","link":"https:\/\/filmfanatic.org"},{"label":"Original Reviews","link":"https:\/\/filmfanatic.org\/?cat=1"},{"label":"Gai Savoir, Le (1969)","link":"https:\/\/filmfanatic.org\/?p=90052"}],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/90052","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=90052"}],"version-history":[{"count":12,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/90052\/revisions"}],"predecessor-version":[{"id":98124,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/90052\/revisions\/98124"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=90052"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=90052"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=90052"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}