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Tout va bien (1972)
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Overview
User Rating:
Release Date:
16 February 1973 (USA) morePlot:
Godard examines the structure of movies, relationships and revolutions through the life of a couple in Paris. full summary | add synopsisAwards:
1 win moreUser Comments:
Deeply flawed but nonetheless important moreCast
(Cast overview, first billed only) | Yves Montand | ... | Him, Jacques |
 | Jane Fonda | ... | Her, Suzanne |
 | Vittorio Caprioli | ... | Factory Manager |
| Elizabeth Chauvin | ... | Genevieve |
| Castel Casti | ... | Geneviève |
| Éric Chartier | ... | Lucien |
| Louis Bugette | (as Bugette) | |
| Yves Gabrielli | ... | Léon (as Yves Gabrieli) |
| Pierre Oudrey | ... | Frederic |
| Jean Pignol | ... | Delegate |
| Anne Wiazemsky | ... | Leftist woman |
| Marcel Gassouk | ||
| Didier Gaudron | ||
| Michel Marot | ||
| Hugette Mieville |
Additional Details
Also Known As:
All's Well (USA)Crepa padrone, tutto va bene (Italy)
Just Great (International: English title)
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Parents Guide:
Add content advisory for parentsRuntime:
USA:95 minColor:
Color (Eastmancolor)Aspect Ratio:
1.66 : 1 moreSound Mix:
MonoFun Stuff
Soundtrack:
Il y'a du soleil sur la France moreFAQ
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Discuss this movie with other users on IMDb message board for Tout va bien (1972)| Recent Posts (updated daily) | User |
|---|---|
| The STUPIDEST EFFING MOVIE EVER!!! | unfabulous36 |
| Godard's Attempt at Being Labeled a Marxist | redxbaron |
| Wes Anderson | Spardocus |
| A curiosity | Odradk |
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After his four-year, self-imposed Maoist/nihilist "exile," Godard made a temporary -- albeit slight -- overture toward conventional commercial (or "bourgeois," as Godard called it) cinema by combining a leftist political essay with a dissection of human interaction. Alas, the film fails on both these levels; as a study of the male-female relationship, it is nowhere near "Contempt" and "Masculin-Feminin"; as a pure Maoist political tract, it is shallow and mind-numingly boring compared to "Le Gai Savior" and "Vladimir and Rosa." Nevertheless, "Tout va bien" is nonetheless important within Godard's extraordinary body of work, for it marked the beginning of the seven-year process in which his films would gradually shed their ultra-leftist leanings and move towards more universal, humanistic themes, a process that would ultimately cumulate in the excellent "Every Man For Himself." Even true Godard aficionados will be as bored as everyone else, but they should nonetheless go out of their way to secure a copy.