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Alphaville (1965)

Thursday, September 15th, 2011

“No one has ever lived in the past. No one will ever live in the future. The present is the form of all life.” – the super computer Alpha 60, in Godard’s Alphaville

Jean Luc-Godard’s Alphaville (1965) is one of the most effective visions of a Dystopian future every created for the screen. Working with American-born French cult actor Eddie Constantine, Godard crafted a science-fiction narrative of the future, working in then-contemporary Paris, shooting mostly at night with available light, as he tells the story of Alpha 60, a gigantic computer than controls the zombified citizens of Alphaville, a futuristic metropolis in a distant constellation in interstellar space. Constantine plays Lemmy Caution, a tough-as nails secret agent, whom he had also portrayed in a series of crime thrillers to diminishing returns before he teamed up with Godard.

Caution has been sent to Alphaville to destroy Alpha 60, free the citizens from its control, and rescue the beautiful Natacha von Braun (Anna Karina), the daughter of Professor von Braun, aka Leonard Nosferatu (Howard Vernon), the creator of Alpha 60. Lemmy accomplishes all of this in his usual tough guy fashion, while simultaneously matching wits with Alpha 60 in a philosophical battle of the wills.

Alpha 60: “What is your secret? Tell me, Mr. Caution.”

Caution: “Something which never changes, day or night. The past represents its future. It advances in a straight line, yet it ends by coming full circle.”

Everything about Alphaville is corrupt; women are exhibited as objects for purchase, vending machines dispense cards saying “Thank You” in return for a franc (or “nothing for something”), and anyone in Alphaville who displays the slightest bit of emotion is immediately sentenced to death. Shooting in crisp black and white with his signature cameraman, Raoul Coutard, on a budget of roughly $100,000, Godard transforms images of Paris at night into a hellish depiction of the future, when no one cares about anything anymore, and hope, love and faith have been forgotten.

Here’s the trailer, which is typically Godardian. If you haven’t seen the film, click on the image below now; this is proof that a sharp, cold, and superbly calculated vision of the future can be accomplished with a few actors, existing cityscapes, and an imagination which was, at the time, boundless.

Click here, or on the image above, to see the entire film, in French with English subtitles.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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