Contempt (1963)

Bowen praises the film as an emotionally devastating, visually sumptuous work that turns its cultural references toward personal loss. He singles out Brigitte Bardot’s performance for conveying Camille’s suppressed fragility and challenging the objectification invited by the opening scene.

The five-star rating signals a strongly positive verdict. The available description singles out Camille’s growing contempt for Paul as the film’s central relationship.

Turan finds the film atypical, unforgettable, and melancholy, yet memorable. He especially praises its emotionally realistic marital argument sequence and the cinematography and music that support it.

Bradshaw calls the film fierce but argues that it has dated and curdled. He singles out its uncompromising deconstruction of cinema and sexual allure.

Tobias finds the film difficult to like but ultimately an eloquent, cohesive statement about art, commerce, and love. He praises its enduring potency and Raoul Coutard’s rapturous photography, while noting that a long domestic argument disrupts the film’s momentum.

The critic regards Contempt as a masterpiece that transformed his understanding of Godard and cinema. He especially praises the opening camera movement and its lyrical effect.

The critic finds the film clever and enjoyable, though its depth is optional and it can feel like a pleasant experience rather than a major work. They praise its deft layering of communication breakdown, cinema’s commercial pressures, and the Odyssey.