The end of history

Zinaida Pronchenko-to death Jean-Luka Godard

On September 13, at the age of 91, the founder of the French “New Wave” and one of the most significant directors in the history of the movie by Jean-Luk Godar died. His life and his films are a chronicle of the twentieth and 21st centuries: revolutions (political, cultural, sexual), wars, the creation of new languages ​​and forms in art, a technological breakthrough. A few hours after the first message about his death, the Libération newspaper, citing close filmmakers, wrote that Godard's decision was voluntary: “He was not sick, he was just tired.” The fact that this decision means to all of us, at the request of the "cold", is reflected in Zinaida Pronchenko.

It is customary to say goodbye to the necrologists, simultaneously explaining what the deceased conquered this world. In the case of Godar, any explanations are useless - here you either believe in the cinema, as in the highest grace, or not - but goodbye, on the contrary, stands with the world. There is no one else to ignore the order in the most arrogant way. For any nonsense, Godard had a very special opinion, the meaning of life and proof of all the things he determined through the complete denial of both the first and the second.

The spirit of contradiction moved Godar 91 years, almost a whole century. It is characteristic that even in May of 2022, when the entire Cannes festival expressed support for Ukraine, fake news appeared on the Web that Hodar supposedly opposed Vladimir Zelensky at the opening ceremony.

After the death of Gorbachev or the queen, when nature, and not the best minds of Facebook, draws a line under the twentieth century and only fooled Russia tries to look at the past, clinging to the “fought grandfathers”, like a coffin, Hodar puts an end to the proposal with its timely departure. If you rephrase the famous quote from “in the last breath”, the manifesto of his youth, - the twentieth century became immortal, and then died. Now for sure.

Still, the main mouthpiece of the left idea in France, the newspaper Liberacion entitled today's text about Godard: “The death of Godard, the death of the history of cinema”. Although for a wide viewer, Fellini is probably personified by Fellini, who had left us for a very, very long time. Godar is in a way - the anti -Pellini. If the author of “8 ½” made obvious excessive, in Godard, on the contrary, unobviation is excessive. No wonder he loved to repeat after the other great director Manuel de Oliveira the following maxim: "Your movie breathes with wonderful symbolism, rooted in the impossibility of his unraveling." For decades, Goddar rushed with meanings or threw them home. Often in his films or cinema, the genre that he was monopolized at the turn of the century, the most important thing is reduced to the word on a Parisian fence or even an exclamation sign, or to a flashed color - for example, blue.

In the “Mad Pierrot”, the hero Jean-Paul Belmondo asked the desired question to Samuel Fuller: “What is a movie?” Godar himself all his life seemed to evade the answer. Giving answers not his competence. However, many asked. The enthusiastic “review” on the “crazy Pierrot” of the pen, by the way, Louis Aragon was called “What is art, Jean-Luke Hodar?”. Instead of explanations, Hodar defiantly from art, self -fired, carried away by Maoist asceticism. Moreover, he was not interested in being in the role of a fellow traveler of the revolution: so, on May 1968 he predicted in the “weekend”, then discredited, hanging on the curtain of the Cannes festival, and then buried with all the honors “everything is in order” and much later in the “new wave”.

In one of his last interviews , in 2019, the legendary magazine “Kaye Du Cinema”, who once became an alma-mother, and then partially destroyed, Hodar says: “I am for disobedience, although I remain in the cinema. It used to seem to me that I could influence the world. Now that Ann-Marie is unhappy with me, she says: “Go to the world, do your revolution, but know that you won’t get coffee!” ”

Five years ago, the extremely skeptical and even mocking Bayopic “Young Goddar” directed Khazanavichus, based on the books of Ann Vyazemski, quite disrespectful at the address of Godard. But the hero of the novel himself did not need his mind in criticism. He was well aware of how unbearable he was in “School and House”, as well as in a brace of his eternal protest. To make sure his ability to look in the mirror, it is enough to include on YouTube their joint interview with Tierry Ardisson, or the famous press conference from the Cannes festival, held according to Feima, or a chronicle from other Cannes, when Godara is welcomed with a cake , and he shakes sweet crumbs with glasses and cigars with an expression of absolute acceptance.

The famous slogan “Personal Political” Hodar understood quite objectively, without nourishing any illusions about the essence of protest or its price for the participants. Non -disobedience as a way of life, and not as a goal -setting. Is the revolution of a cup of smoking coffee? Most likely not. Is it worth your way in the art of awards, box office, recognition of colleagues and associates in an ideological camp? Definitely. Is it worth all the previous cinema of the only gesture of Belmondo in the “last breath”, copying the boart on the eve of the inevitable death on Ryu Campan Prime Minister? Not discussed. Like the role of Godard in our story with you.

Be that as it may, Godar always preferred to burn his ships, not the enemy. Mindful that the main and strongest opponent is himself. The battle is over.