Of course, a film built entirely on asides in addition to Godard's and Juliette's reflections, we get many landscapes surveying Paris under construction and the usual café dialogues is as likely to be a soporific as a revelation; reverie and sleepiness are frequent bedfellows in the movie theater and never more so than here. Certainly, Two or Three Things lacks the pop frisson of Masculine-Feminine or Weekend, but it's also, in many ways, a more palatable work not least of all for a toning down of the toxic sexism that mars Godard's best, angriest work.
Two or Three Things will always be thought of as a stepping stone, though the film's beauty lies in its singularity. In another, less famous but no less profound voice-over sequence, Godard contemplates the nature of his representations of reality ("Should I have talked about Juliette or the leaves?") while Juliette has her car washed. As the car (lollipop red, of course) shuttles from station to station, so too does Godard's mind lurch from idea to idea before settling on an underlying truth: the necessity for an indefatigable "passion for expression." The world can be anything he wishes to make it. It's a beautiful, surprisingly hopeful idea, and for a moment all that followed Two or Three Things slips away, leaving us only this unwieldy, pregnant now. *
TWO OR THREE THINGS I KNOW ABOUT HER
March 30April 5
Mon.Wed. and Fri.Sun., 7 and 9 p.m. (also Wed. and Sat.Sun., 1, 3, and 5 p.m.), $6$9
429 Castro, SF