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Really Surprised!

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

One of Godard's better films from the 60's, which like a number of his films from his prime era is usually either liked a lot or detested to hell, is almost audience-dividing on purpose. His film is a black comedy that sometimes is (successfully) deceptively a bleak drama of corruption of the working man in times of War. Stylistically it is Godard all the way, though one can't disregard the likely significant contributions (though it may be hard to detect since it IS Godard's mouth all over the pie so to speak) of screenwriters Jean Gurault (usually Truffaut's co-writer), and (apparently) Roberto Rossellini. Rossellini, who was one of Godard's big influences, is countered by what was also a big influence likely on this picture, Samuel Fuller, the king of B War pictures. So one could look at the quasi-split of ideals in the film, of Rossellini's documentary style of telling it like it is, crossed with Fuller's hard professionalism and no-holds- barred view of War. Whomever influence comes through stronger, this is really Godard's show, and has here something that is fairly usual in terms of his challenging styles and criticizing past films (including Truffaut with his own comments on War depicted in film), but also is unique for how it is presented, and makes it a difficult, though rewarding experience. This is the French new-wave equivalent, to put it another way, to Sam Mendes's Jarhead; you're not sure if this really should be classified as a typical 'war' film, despite being in a league of other films already in place.One thing that is as fascinating as it is occasionally frustrating is Godard's main male actors, Albert Muross and Marino Mase, are not very expressive, and of course are not really 'actors' in the traditional sense (at least at the time they were close to un- professionals). But maybe that is what's needed, dumb farm boys who are propogandized into going to fight for their invading, nameless country; the opening scenes of the list of things the men will get is equally funny and troubling. Then the boys go off to war, and there is a really astute episodic kind of storytelling used, which works considering the short time length. One scene that really stood out was when one of the soldiers goes to see his first film ever, and is almost like some kind of primate seeing a woman disrobing on a screen (it's also arguably the funniest scene in the film). When the boys come home they are loaded with pictures, in a scene that is the one that almost had me questioning if it was either really good or really too long; the length of the list of pictures is like a litmus test for moviegoers- can you take all of these images, done almost to make a point that's not too clear? But what makes Les Carabiniers work for me is how it is so un-like other war films that it stands alone on its own terms, like a French new-wave Dr. Strangelove (though maybe not a masterpiece like that one). At times I wasn't totally sure where the satire started or ended, and there is a certain distance that Godard places with his many long-shots getting in as much landscape as tanks and soldiers with their guns. What's surprising is how the tone is always assured, which is crucial considering this is a story told through the side of the invaders this time, men working under their elusive King for land and riches and wealth. One of the best scenes I may have seen in any Godard film is when they have a woman who is at first thought to be 'a friend' of the soldiers, but then goes off on a Leninist rant. The men are about to shoot her, but can't for a few minutes, as the words she says strike some kind of chord in their primal mindsets. Amid montages of archive footage of planes flying and bombs dropping, there's a scene that would never ever be in any 'conventional' war picture. There's a real thought process going on here, and even if it's got some of Godard's usual 'f*** you, it's my style, take it or leave it' attitude, it's not totally un-accessible either. It's a slim volume of gritty anti-War pathos, and it's maybe a tad under-rated in the director's massive catalog.

As countrymen fight amongst themselves, two farmers join the fight for riches and fame, writing home to their wives with their view of the battle. Godard used actual letters from soldiers in various wars as a backdrop.The film was originally panned as the worst film ever made. So much so that Godard pulled the film from all distribution. Amusingly thought provoking.The best scenes in the film come during their fighting for "the king". Unknown enemy, speaking the same language and wearing the same uniforms, Godard successfully blurs the lines of war and reason.

What an amazing film.From the opening notes of the military march, to the final scene,this is a harrowing ride through the landscapes of "soldiers pay."There is nothing slick or overproduced here,thank Godard. The use of actual letters from French soldiers in wars from 1812 to ww2, is a masterstroke that effectively ties the scenes together.This could be a documentary and is done in this style.This works very well with the vintage newsreel images that are also used to tie the scenes.If you are looking for a RAMBO type war -adventure,go rent a Chuck Norris film.If you are a serious fan of the war/anti-war genre,do not miss this one!

Similar to Ingmar Bergman's 'Shame' is Godard's powerful parable of war, 'The Riflemen.' Godard has stated that 'In dealing with war, I followed a very simple rule. I assumed I had to explain to children not only what war is, but what all wars have been from the barbarian invasions to Korean and Algeria, by way of Fontenoy, Trafalgar, and Gettysburg.'Michelange and Ulysse leave the women when the king's officers come enlist them... They are offered everything... 'Can we loot, burn, rape etc. etc… 'Yes. You can do anything you want,' they are assured... So with rifles on their backs they are off to war... Like Bergman's film there is no enemy... Both sides wear the same uniform, talk the same language and have the same objectives... Nothing is left out of the film, the hate, the humiliation, the rape, but above all we are impressed by the unending and unrelieved scenery of destruction... There is nothing that is natural or alive in the world of rubble...