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Changed line(s) 27,28 (click to see context) from:
* LeFilmArtistique: The Odyssey film seems to be this--little dialogue, long shots of painted over busts rotating for no particular reason. ''Contempt'' itself manages to avert the stereotypes commonly associated with this.
* MsFanservice: You'd expect this from Camille, being Creator/BrigitteBardot, but the film's single most Fanservice-y scene is the opening one, inserted at the request of the producers because they didn't think that the film was titillating enough. Camille lies naked on her stomach on a bed, next to fully-clothed Paul, and asks him which parts of her body he likes. Godard shot the scene first with a red filter, then with no filter, then with a blue filter, which successfully distracts the viewer from Bardot's body and diverts attention towards what's going with the whole filter thing.
* MsFanservice: You'd expect this from Camille, being Creator/BrigitteBardot, but the film's single most Fanservice-y scene is the opening one, inserted at the request of the producers because they didn't think that the film was titillating enough. Camille lies naked on her stomach on a bed, next to fully-clothed Paul, and asks him which parts of her body he likes. Godard shot the scene first with a red filter, then with no filter, then with a blue filter, which successfully distracts the viewer from Bardot's body and diverts attention towards what's going with the whole filter thing.
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* LeFilmArtistique: The Odyssey film seems to be this--little dialogue, long shots of painted over painted-over busts rotating for no particular reason. ''Contempt'' itself manages to avert the stereotypes commonly associated with this.
* MsFanservice: You'd expect this from Camille, being Creator/BrigitteBardot, but the film's single most Fanservice-y scene is the opening one, inserted at the request of the producers because they didn't think that the film was titillating enough. Camille lies naked on her stomach on a bed, next to fully-clothed Paul, and asks him which parts of her body he likes. Godard shot the scene first with a red filter, then with no filter, then with a blue filter, which successfully distracts the viewer from Bardot's body and diverts attention towards what's going on with the whole filter thing.
* MsFanservice: You'd expect this from Camille, being Creator/BrigitteBardot, but the film's single most Fanservice-y scene is the opening one, inserted at the request of the producers because they didn't think that the film was titillating enough. Camille lies naked on her stomach on a bed, next to fully-clothed Paul, and asks him which parts of her body he likes. Godard shot the scene first with a red filter, then with no filter, then with a blue filter, which successfully distracts the viewer from Bardot's body and diverts attention towards what's going on with the whole filter thing.
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* LargeHam: Jack Palance doesn't ''chew'' the scenery so much as he ''eviscerates'' it as Jerry Prokosh.
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This is grammatically inconsistent as written.
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** Prokosch believes that Odysseus took part in the [[Literature/TheIliad Trojan War]] and subsequently [[Literature/TheOdyssey went on a long journey]] to get away from his wife Penelope. It's only when Penelope starts taking a liking to her suitors does Odysseus return to Ithaca and slaughter her suitors to win her back.
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** Prokosch believes that Odysseus took part in the [[Literature/TheIliad Trojan War]] and subsequently [[Literature/TheOdyssey went on a long journey]] to get away from his wife Penelope. It's only Only when Penelope starts taking a liking to her suitors does Odysseus return to Ithaca and slaughter her suitors to win her back.
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* NiceHat: Paul spends most of the movie with one.
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* AlternateCharacterInterpretation: [[invoked]] The conflict between director Fritz Lang and producer Jeremy Prokosch revolves around their different interpretations of Odysseus.
** Prokosch believes that Odysseus took part in the [[Literature/TheIliad Trojan War]] and subsequently [[Literature/TheOdyssey went on a long journey]] to get away from his wife Penelope. It's only when Penelope starts taking a liking to her suitors does Odysseus return to Ithaca and slaughter her suitors to win her back.
** Lang has a more traditional view of Odysseus: Odysseus is nothing more than a clever man who dearly loves Penelope. To Lang, Prokosch's {{deconstruction}} of Odysseus goes against the ancient Greeks' perception of Odysseus.
** Prokosch believes that Odysseus took part in the [[Literature/TheIliad Trojan War]] and subsequently [[Literature/TheOdyssey went on a long journey]] to get away from his wife Penelope. It's only when Penelope starts taking a liking to her suitors does Odysseus return to Ithaca and slaughter her suitors to win her back.
** Lang has a more traditional view of Odysseus: Odysseus is nothing more than a clever man who dearly loves Penelope. To Lang, Prokosch's {{deconstruction}} of Odysseus goes against the ancient Greeks' perception of Odysseus.
* ChekhovsGun: Javal grabs a revolver after a fight with Camille. [[spoiler:It ends up becoming a RedHerring since Camille takes the bullets out before he can use it.]]
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* LeFilmArtistique: The Odyssey film seems to be this - little dialogue, long shots of painted over busts rotating for no particular reason. ''Contempt'' itself manages to avert the stereotypes commonly associated with this.
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* LeFilmArtistique: The Odyssey film seems to be this - little dialogue, long shots {{Foreshadowing}}: Prokosch's analysis of painted over busts rotating for no particular reason. ''Contempt'' itself manages to avert Odysseus as someone who hates his wife [[PlotParallel parallels the stereotypes commonly associated with this.growing rift between Javal and Camille]]. [[spoiler:In essence, the three characters--Prokosch, Javal, and Camille--take on the roles of various characters from ''The Odyssey''. Like Penelope's suitors, Prokosch dies at the end of the story.]]
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* LeFilmArtistique: The Odyssey film seems to be this--little dialogue, long shots of painted over busts rotating for no particular reason. ''Contempt'' itself manages to avert the stereotypes commonly associated with this.
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Dissatisfied with the direction a movie he's financing is taking, American producer Jeremy Prokosch (Creator/JackPalance) hires French playwright Paul Javal (Piccoli) to write a more commercial script. Paul tries to essentially sell his wife Camille (Bardot) to Prokosch, to get a better payment for the script. Camille, pissed with the treatment she's being given, becomes more and more aloof towards her husband.
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Dissatisfied with the direction a movie the cinematic adaptation of ''Literature/TheOdyssey'' he's financing is taking, taking under director Creator/FritzLang (AsHimself), American producer Jeremy Prokosch (Creator/JackPalance) hires French playwright Paul Javal (Piccoli) to write a more commercial script. Paul tries to essentially sell his wife Camille (Bardot) to Prokosch, to get a better payment for the script. Camille, pissed with the treatment she's being given, becomes more and more aloof towards her husband.
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* DownerEnding: [[spoiler:Camille's and Paul's marriage falls apart and Camille dies along with Prokosch.]]
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* DownerEnding: [[spoiler:Camille's and Paul's marriage falls apart and Camille dies in a car accident along with Prokosch.]]
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** The entire character of Prokosch was Godard's Take That against the film's producer Joseph E. Levine, whose name is significantly absent from the credits.
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** The entire character of Prokosch was Godard's Take That against the film's producer Joseph E. Levine, whose name is significantly absent from the credits.credits (the closest he gets to a credit is Francesca mentioning that he telephoned Prokosch early in the film).
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* AdaptationalNameChange: Paul Javal was named Riccardo Molteni in the original novel, his wife Camille was named Emilia, and the producer Jeremy Prokosch was called Battista.
* AdaptationalNationality: The characters were all Italian in the novel.
* AdaptationalNationality: The characters were all Italian in the novel.
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* AGodAmI: Prokosch. "I like Gods. I know ''exactly'' how they feel."
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* AGodAmI: Prokosch. "I Prokosch's occupation as film producer appears to have gone to his head.
-->'''Prokosch:''' I like Gods. I know ''exactly'' how they feel."
-->'''Prokosch:''' I like Gods. I know ''exactly'' how they feel.
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Mass fixing indentation.
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* MsFanservice: Camille, being Creator/BrigitteBardot.
** Subverted. The film's single most Fanservice-y scene is the opening one, inserted at the request of the producers because they didn't think that the film was titillating enough. Camille lies naked on her stomach on a bed, next to fully-clothed Paul, and asks him which parts of her body he likes. Godard shot the scene first with a red filter, then with no filter, then with a blue filter, which successfully distracts the viewer from Bardot's body and diverts attention towards what's going with the whole filter thing.
* MultinationalTeam: The team working on the film within a film is composed of Italians, Germans, French people and at least one American. [[NewerThanTheyThink It's commonplace nowadays, but at the time it was kind of a novelty.]]
** It justifies the film's memorable closing shot: a long take of the deep blue sea and sky.
--->'''French assistant director''': [''offscreen, in French''] ...Silence.
--->'''Italian assistant director''': [''offscreen, on a megaphone''] Silencio.\\
** Subverted. The film's single most Fanservice-y scene is the opening one, inserted at the request of the producers because they didn't think that the film was titillating enough. Camille lies naked on her stomach on a bed, next to fully-clothed Paul, and asks him which parts of her body he likes. Godard shot the scene first with a red filter, then with no filter, then with a blue filter, which successfully distracts the viewer from Bardot's body and diverts attention towards what's going with the whole filter thing.
* MultinationalTeam: The team working on the film within a film is composed of Italians, Germans, French people and at least one American. [[NewerThanTheyThink It's commonplace nowadays, but at the time it was kind of a novelty.]]
** It justifies the film's memorable closing shot: a long take of the deep blue sea and sky.
--->'''French assistant director''': [''offscreen, in French''] ...Silence.
--->'''Italian assistant director''': [''offscreen, on a megaphone''] Silencio.\\
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* MsFanservice: You'd expect this from Camille, being Creator/BrigitteBardot.
** Subverted. TheCreator/BrigitteBardot, but the film's single most Fanservice-y scene is the opening one, inserted at the request of the producers because they didn't think that the film was titillating enough. Camille lies naked on her stomach on a bed, next to fully-clothed Paul, and asks him which parts of her body he likes. Godard shot the scene first with a red filter, then with no filter, then with a blue filter, which successfully distracts the viewer from Bardot's body and diverts attention towards what's going with the whole filter thing.
* MultinationalTeam: The team working on the film within a film is composed of Italians, Germans, French people and at least one American. [[NewerThanTheyThink It's commonplace nowadays, but at the time it was kind of a novelty.]]
**]] It justifies the film's memorable closing shot: a long take of the deep blue sea and sky.
--->'''French -->'''French assistant director''': [''offscreen, in French''] ...Silence.
--->'''Italian -->'''Italian assistant director''': [''offscreen, on a megaphone''] Silencio.\\
** Subverted. The
* MultinationalTeam: The team working on the film within a film is composed of Italians, Germans, French people and at least one American. [[NewerThanTheyThink It's commonplace nowadays, but at the time it was kind of a novelty.
**
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* TakeThat: Lang saying that [=CinemaScope=] was made for snakes and funerals. Godard shot this film in [=CinemaScope=] against his will.
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* TakeThat: TakeThat:
** Lang saying that [=CinemaScope=] was made for snakes and funerals. Godard shot this film in [=CinemaScope=] against his will.
** Lang saying that [=CinemaScope=] was made for snakes and funerals. Godard shot this film in [=CinemaScope=] against his will.
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Changed line(s) 4,5 (click to see context) from:
Dissatisfied with the direction a movie he's financing is taking, American producer Jeremy Prokosch (Jack Palance) hires French playwright Paul Javal (Piccoli) to write a more commercial script. Paul tries to essentially sell his wife Camille (Bardot) to Prokosch, to get a better payment for the script. Camille, pissed with the treatment she's being given, becomes more and more aloof towards her husband.
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Dissatisfied with the direction a movie he's financing is taking, American producer Jeremy Prokosch (Jack Palance) (Creator/JackPalance) hires French playwright Paul Javal (Piccoli) to write a more commercial script. Paul tries to essentially sell his wife Camille (Bardot) to Prokosch, to get a better payment for the script. Camille, pissed with the treatment she's being given, becomes more and more aloof towards her husband.
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''Contempt'' (original French title: ''Le Mépris'') is a 1963 French movie directed by Creator/JeanLucGodard and starring Creator/BrigitteBardot and Michel Piccoli. It's based on the novel ''A Ghost at Noon'' by Alberto Moravia.
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''Contempt'' (original French title: ''Le Mépris'') is a 1963 French movie directed by Creator/JeanLucGodard and starring Creator/BrigitteBardot and Michel Piccoli.Creator/MichelPiccoli. It's based on the novel ''A Ghost at Noon'' by Alberto Moravia.
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-->'''Paul''': It's just to look like Creator/DeanMartin in ''Some Came Running''.
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-->'''Paul''': It's just to look like Creator/DeanMartin in ''Some Came Running''.''Film/SomeCameRunning''.
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No Sink Hole(s), please
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* [[ShowWithinAShow Film Within A Film]]: Type 1.
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* [[ShowWithinAShow Film Within A Film]]: Type 1.LeFilmArtistique: The Odyssey film seems to be this - little dialogue, long shots of painted over busts rotating for no particular reason. ''Contempt'' itself manages to avert the stereotypes commonly associated with this.
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* LeFilmArtistique: The Odyssey film seems to be this - little dialogue, long shots of painted over busts rotating for no particular reason. ''Contempt'' itself manages to avert the stereotypes commonly associated with this.
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* ShowWithinAShow: Film Within A Film, of the "The characters are involved on its production" type.
