Brigitte Bardot
Camille Javal
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Contempt (French: Le Mépris) is a 1963 French New Wave drama film written and directed by Jean-Luc Godard, based on the 1954 Italian novel Il disprezzo (A Ghost at Noon) by Alberto Moravia. It stars Brigitte Bardot, Michel Piccoli, Jack Palance, Fritz Lang, and Giorgia Moll.
- 1,597,870 admissions (France)
- $1 million
Contempt: Directed by Jean-Luc Godard. With Brigitte Bardot, Michel Piccoli, Jack Palance, Giorgia Moll. A French writer's marriage deteriorates while working on Fritz Lang's version of "The Odyssey", as his wife accuses him of using her to court favor with the film's brash American producer.
- (35K)
- Drama, Romance
- Jean-Luc Godard
- 1964-12-18
Advertise With Us. Scenes from a marital breakdown between screenwriter (Michel Piccoli) and his wife (Brigitte Bardot), as both become enmeshed in the behind-the-camera struggles of a director ...
- (724)
- Brigitte Bardot
- Jean-Luc Godard
- Drama
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Contempt (Le Mépris) stars Michel Piccoli as a screenwriter torn between the demands of a proud European director (played by legendary director Fritz Lang), a crude and arrogant American producer (Jack Palance), and his disillusioned wife, Camille (Brigitte Bardot), as he attempts to doctor the script for a new film version of The Odyssey.
- Camille Javal
Contempt (1963) -- (Movie Clip) A Story Of That World Ever unorthodox Jean-Luc Godard narrates his own credits, the opening to his 1963 movie-business tale Contempt, starring Brigitte Bardot, Michel Piccoli and Jack Palance, from a novel by Alberto Moravia.
- Jean-Luc Godard, Charles Bitsch
- Brigitte Bardot
Contempt (Aka Le Mepris) (English Subtitled) A screenwriter adapting Homer’s Odyssey for cinema is torn between the demands of a proud European director to whom he wishes to be loyal to; a crude, arrogant American producer; his disillusioned wife Camille; and his own self-respect. 442 IMDb 7.5 1 h 43 min 1964. 13+. Drama · Romance.
Dec 9, 2002 · Dec 9, 2002. C ontempt, one of Jean-Luc Godard’s greatest masterpieces, has a stately air that breaks with the filmmaker’s earlier, throwaway, hit-and-run manner, as though he were this time allowing himself to aim for cinematic sublimity. It is both his richest study of human relations, and a film very much about a tortured kind of movie love.
