For Ever Mozart
For Ever Mozart is one of Godard’s most complex films. This is true of all his films that have a seemingly coherent narrative, but For Ever Mozart surpasses all its companions into a realm that only Godard has the access to. But by no means is it a self-indulgent film. While the whole world of filmmaking is crowding the narrow lane defined by the “rules of success”, Godard wallows alone in the vast unexplored stretches, taking his gigantic leaps and pondering on the barrenness of the field. Until someone gives him company and learns his language, I can just guess.
For Ever Mozart, on the outset shows us two threads the first of which follows a group of self-proclaimed theatre artists out in Yugoslavia to put up a play amidst the frustrating war situation around. The second thread, the more accessible one, involves a director with an urge to use filmmaking as an art (wanna guess who?!) against the wishes of his producer and audience. He believes the director to be the father and the actor to be the mother of any play and sure enough, after much labour by both the director and his actress, they deliver the film of their dreams. But what does the audience want? Terminator-4. This creates a tautology of sorts within the film between the two threads. One depicts the struggle of art to survive within the harsh realities of the world whereas the other portrays the battle of art with its own subverted form – Cinema among wars and war among cinemas.
There is a magical scene at the end of the film, perhaps Godard’s best. We see an anachronistic image of Mozart performing amidst an audience that is clad in jeans, chewing gum. The mute Mozart invites a layman to assist him in his concert. The director ascends to the hall with difficulty via a stairway (to heaven?) after which he retires. Is Godard suggesting that a time will come where art will be a commodity of the public and not just for the public? To steal from the film itself, “It’s almost nothing or… something I don’t know“.