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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
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
El desprecio (título original en francés: Le Mépris) es una película francesa de 1963 basada en la novela homónima de Alberto Moravia, dirigida por Jean-Luc Godard y protagonizada por Brigitte Bardot y Michel Piccoli con la aparición del director Fritz Lang interpretándose a sí mismo.
- Charles L. Bitsch
- Jean-Luc Godard
- El desprecio
Movie Info. 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 (Fritz...
- (65)
- Brigitte Bardot
- Jean-Luc Godard
- Rome Paris Films
Running time. Contempt is a 1963 French New Wave drama film written and directed by Jean-Luc Godard, based on the 1954 Italian novel Il disprezzo by Alberto Moravia. It stars Brigitte Bardot, Michel Piccoli, Jack Palance, Fritz Lang, and Giorgia Moll.
9 de dic. de 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.
