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La Chinoise

Anne Wiazemsky (Actor), Jean-Pierre Léaud (Actor), Jean-Luc Godard (Director) Rated:
Unrated
Format: DVD
4.4 4.4 out of 5 stars 103 ratings
IMDb6.9/10.0
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Format Multiple Formats, Color, Subtitled, NTSC, Restored, Dolby
Contributor Jean-Pierre Léaud, Anne Wiazemsky, Jean-Luc Godard
Language French
Runtime 1 hour and 33 minutes
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Product Description

Paris, 1967. Disillusioned by their suburban lifestyles, a group of middle-class students, led by Guillaume (Jean-Pierre Léaud) and Veronique (Anne Wiazemsky), form a small Maoist cell and plan to change the world by any means necessary. After studying Maoist cell and plan to change the world by any means necessary. After studying the growth of communism in China, the students decide that they must use terrorism and violence to ignite their own revolution.

DVD Extras:
Godard editing table interview, Venice Film Festival press conference footage, Interview with Anne Wiazemsky,
Introduction by Colin MacCabe (author of Godard: A Portrait of the Artist at Seventy), Original Theatrical Trailer

Product details

  • Aspect Ratio ‏ : ‎ 1.33:1
  • Is Discontinued By Manufacturer ‏ : ‎ No
  • MPAA rating ‏ : ‎ Unrated (Not Rated)
  • Package Dimensions ‏ : ‎ 7.5 x 5.3 x 0.6 inches; 2.4 ounces
  • Director ‏ : ‎ Jean-Luc Godard
  • Media Format ‏ : ‎ Color, NTSC, Subtitled, Restored, Multiple Formats, Dolby
  • Run time ‏ : ‎ 1 hour and 33 minutes
  • Release date ‏ : ‎ May 13, 2008
  • Actors ‏ : ‎ Anne Wiazemsky, Jean-Pierre Léaud
  • Subtitles: ‏ : ‎ English
  • Studio ‏ : ‎ KOCH Lorber Films
  • ASIN ‏ : ‎ B0013D8LY0
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.4 4.4 out of 5 stars 103 ratings

Customer reviews

4.4 out of 5 stars
4.4 out of 5
103 global ratings

Top reviews from the United States

A. Reader
5.0 out of 5 stars One of my favorite Godard movies
Reviewed in the United States on January 8, 2018
Verified Purchase
One of my favorite Godard movies. It's a satire, but also predicts where politics of the sixties would go, violence. The DVD looks great, too.
3 people found this helpful
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Smiley McGrouchpants Jr. Esq. III
4.0 out of 5 stars Great!
Reviewed in the United States on January 18, 2022
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Great.

Listen to "Atari Teenage Riot."

Read "Inherent Vice."
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chuck oie
5.0 out of 5 stars Love this dvd.
Reviewed in the United States on October 6, 2019
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Stunning blu ray transfer!
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Frank G
5.0 out of 5 stars It's the Little Red Book.....
Reviewed in the United States on September 4, 2008
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Awesome to watch for the vivid imagery, revolutionary attitude, and challenge to think.

It's available since May in NTSC Reg. 1 from Koch/Lorber in an excellent transfer with original French and English subtitles.  La Chinoise
3 people found this helpful
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Con Harrigan Emmons
5.0 out of 5 stars One Step In A Long March
Reviewed in the United States on January 21, 2018
From Martin Esslin’s seminal essay:
“The Theatre of the Absurd attacks the comfortable certainties of religious or political orthodoxy. It aims to shock its audience out of complacency, to bring it face to face with the harsh facts of the human situation as these writers see it. But the challenge behind this message is anything but one of despair. It is a challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly; precisely because there are no easy solutions to the mysteries of existence, because ultimately man is alone in a meaningless world. The shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, in the last resort, the Theatre of the Absurd does not provoke tears of despair but the laughter of liberation.”

Absurdism and existentialism go hand in hand in this 1967 Godard film. Its portrayal of students playing at revolution is romantic, hip, jazzy, light as a feather yet deadly. Nothing in it would have been out of place in the theater of that time, where absurdism that went back to Pirandello continued through Beckett, Ionesco, Genet. But in film it puzzled American critics such as John Simon and Stanley Kauffmann, both of whom reacted as cultural dinosaurs with pedantic reviews. Why wasn’t it “realistic?” they asked. Perhaps because Godard like Andre Malraux didn’t see society as bad, as susceptible of improvement, but as absurd and so couldn't be bothered with "realism." Yet at the same time Godard takes his young protagonists as seriously as they take themselves, giving them their due, indeed honoring them, without ever being solemn about it. No wonder the film is as fresh today as it was back then.
3 people found this helpful
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Alfred Johnson
4.0 out of 5 stars The Revolution Is Not A Dinner Party, Indeed!
Reviewed in the United States on January 5, 2010
The last time the name of famous (1960s famous) French experimental filmmaker Jean-Luc Godard appeared in this space was in last year's retro-review of his documentary/didactic montage of The Rolling Stones as they went through their paces in creating the rock classic "Sympathy For The Devil" in 1968. I faulted Godard's efforts there for trying the patience of even the most ardent Stones fan (including this reviewer) with his interspersing of 1960s hard political rhetoric and zany antics with a rather long drawn out exposition on the creative process that it took to create a song lasting a few moments. All the faults there, however, turn into pluses in this 1967 look at the trials and tribulation of a small group of ardent radicals trying to make sense of their world (their French world, by the way) during the tumultuous 1960s and during the heat of the struggle to break with, what in France, was the status quo- adherent to the Communist Party that, although having at one time perspective for socialist revolution and the road to a communist society, had seemingly given up that mantle to Mao and the Chinese Revolution.

The story line here is fairly simple, although perhaps rather obscure to the last couple of generations since the generation of '68 had its heyday. Fair enough. I need not spent much time on this however because the story line has its antecedents in, and the script fairly accurately follows, the famous Russian writer Dostoevsky's novel "The Possessed". (Dostoevsky, by the way came within a hairbreadth of the hangman's noose for his own youthful political activism, something which colors in a perverse way the cautionary tale he tells). The plot centers on a small group of college students who, during the summer break and with time on their hands, are struggling with ideas about their place in the world, their seeming being left out of the decision-making process of that world, and most importantly, for the "lessons" to be taken from the film what to do about it. That small group which as the plot unfurls turns itself into a political cell, as was the nature of the times, turned to revolutionary politics, or what they thought was revolutionary politics in an attempt resolve these conflicts.

The beauty of Godard experimentalism in this work is that, although there is some dialogue it really does not depend on that as much as the visually imaginary that he projects. I mentioned above his use of montage in the Stones film. Here he, seemingly, pored through every known photograph of every known, wannabe or has-been revolutionary up until that time as he adds to his main story. However, that is only part of the brilliant use of film here. I will just point out a couple shots that struck me. Most of the action takes place at cell headquarters, an apartment where the students live, read, smoke many cigarettes, and are lectured to, and at, on Mao Thought. Visually the process of turning the group from bored, if intelligent, students to armchair Red Guards is shown by the depletion of the library from the standards of Western literature until near the end the shelves are almost filled with Red Books.

Another is the use of lectures in traditional lecture style in the tiny apartment where there are only three or four others present. They took turns at this. The most interesting one was when the pro-Moscow student tried to lecture and was given boos and catcall for his efforts. No one said there was no shortage of infantilism in those days, as the overhead cost of trying to figure out the political universe. There are many other shots like these that give you a fairly realistic picture of that small world, replicated many, many times throughout the world in those days. Well done, Monsieur Godard
6 people found this helpful
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J. Inglis
5.0 out of 5 stars Great but cheaper in Germany
Reviewed in the United States on August 28, 2005
This is a great film with wonderful political overtones. If you would like to see it for around 25$, get the German copy. The only drawback besides PAL is that it is dubbed into German!
2 people found this helpful
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Robert Furem
3.0 out of 5 stars Where's the End Title
Reviewed in the United States on May 17, 2008
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Great movie. Decent,not exceptional transfer. Nice extras. However, where is the end title to the film that Richard Brody mention in his new Godard biography. After the shutters are closed their should be an end title that reads "The End Of A Beginning." It has gone missing. This is why Koch Lorber is not Criterion. Can any of you Godard experts out there help with this? Thanks.
10 people found this helpful
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Top reviews from other countries

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Ricardo Alfonso
1.0 out of 5 stars I don’t know
Reviewed in Canada on October 24, 2022
Verified Purchase
I watched the movie a while ago so I knew it was a good one. The copy I got from the vendor was defective so Amazon reimbursed the money I paid for it. Good on Amazon. I’ll buy another one from another vendor in the future, probably.
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CHARLES
5.0 out of 5 stars reçu
Reviewed in France on August 19, 2023
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reçu
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Jordi Aguado Bosch
5.0 out of 5 stars calidad y rapidez en el envío
Reviewed in Spain on April 29, 2021
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Todo en orden, un dvd nuevo en gran estado y llegó en 1 día, muy contento con la compra de esta joya
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A.S.
5.0 out of 5 stars La Chinoise [1967]
Reviewed in the United Kingdom on June 21, 2008
Verified Purchase
Among Godard's films, la Chinoise currently stands as my favourite. Very Brechtian in its form, it does not let the audience enter a state of complacency and let the plot flow: it demands attention.

The bare plot is simple enough, and I won't outline it here, but what is great about this film is its spirit. I daresay it captures the atmosphere of the times - of a contemporaneous flat of young political activists - perfectly. I stress the word 'atmosphere', as that is the first thing that draws you in. The little things, the note-writing on the walls, posters, paintings, books, the way the people in the flat sit, stand, study, listen to the radio, and relate to each other, all of these paint in successive strokes the atmosphere of the flat.

But then the camera moves and decides to show the crew and the equipments and so we are not even allowed to forget that this is a show. The characters come forward in an interview like monologue (we can't hear the interlocutor) and tell you about themselves, how they came to be in that flat, their political beliefs, etc. They may just be playing their parts and reciting dialogue but one gets the feeling that they are also speaking for themselves (a character (Guillaume) explicitly says that he is!)

Now for the most demanding part of the film, the actual 'text', shall I say? Apart from incessant quotes from the Red Book, the actual dialogues and talks in the film are quite intellectually demanding, and in fact quite enlightening at times. I do recommend a second view to get more out of the film. I was especially impressed by the talk between Véronique and the Professor-activist in the train. I shall not go into details (and raptures) about the intellectually stimulating bits of the film, but if you're not looking forward to an intellectual engagement with what is said (and shown) in the film, I definitely do not recommend this.

This film is not a slag-off of the maoist-student movement in France, as the bare plot may suggest, it is rather a constructive engagement with what was happening in the times. I think the end note is that of hope rather than pessimism, though with clauses: it is but a first step, as Véronique says. A naïve hope perhaps, and dangerous too in this naïvety, but a hope nevertheless. We see at the end each of the characters going out and trying to work towards their hopes. There is no closure. We are left to make up our own minds.
11 people found this helpful
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juanmelchior
4.0 out of 5 stars un film iconoclaste
Reviewed in France on March 19, 2019
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Une expérience cinématographique de Jean Luc Godard bien dans la mouvance de la fin des années soixante. On peut ne pas aimer.
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