It is an unfair game, that of elegies. The number of times a chronicler is asked to write about someone who has died would make a sad and beautiful compilation. In fact, eulogies are always texts about life, not about death, but we regret never being able to do the opposite, never being able to give the news that Marlon Brando was born, or Bowie was born, Javier Marías was born, Gorbachev was born. born. We never know. Not the queen. Not even in the case of the queen (which, even so, made headlines), could it be titled: “The queen was born, the woman who…”. Stay tuned, follow, enjoy, take a sip. Don’t get distracted by others, focus on them. Take everything away from them and give them everything they deserve. This is what we wanted to write, while there is still time. But no one ever knows what life is going to be like. Not even who will be the queen. Goodness. But then it comes to this.
Today, the chronicle is because “Godard died”. After having changed cinemas and making films that no longer mattered for many years. But if someone who changed the world has no right to become irrelevant, who does? (and Gorbachev is, in this sense, another good example)
In other places they will write other things. Jean-Luc Godard is the messiah of a very good film buff and critic. He is correct. But if the accolades are not personal, encyclopedia entries and Linkedin profiles would suffice (Jean-Luc Godard, revolutionary, thousands of contacts, including Truffaut, Chabrol, Rohmer, Rivette, Varda, Resnais and some of the most beautiful in history ).
In the 1960s, Godard saved the cinema. He took an art that was in danger of crystallizing into studio perfection and reset it to zero. If I hadn’t done it, would someone else have ended up doing it? Probably, but that’s not how it happened. What happened was that Godard began to write in the Cahiers du Cinema with friends, make critics and academia look at Hawks or Hitchcock, and then jump behind the camera and show that you knew what you were saying.
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Source: Observadora
