1967 жылғы "Қытай қызы" фильмі: Маошыл жастар және революциялық күрес

1967 film by Jean Luc Godard

La Chinoise, ou plutôt à la Chinoise: un film en train de se faire , commonly referred to simply as La Chinoise, is a 1967 French political docufiction film written and directed by Jean Luc Godard about a group of young Maoist activists in Paris. La Chinoise is a loose adaptation of Fyodor Dostoyevsky's 1872 novel Demons (also known as The Possessed). In the novel, five disaffected citizens, each representing a different ideological persuasion and personality type, conspire to overthrow the Russian imperial regime through a campaign of sustained revolutionary violence. The film, set in contemporary Paris and largely taking place in a small apartment, is structured as a series of personal and ideological dialogues dramatizing the interactions of five French university students—three young men and two young women—belonging to a radical Maoist group called the "Aden Arabie Cell" (named after the novel Aden, Arabie by Paul Nizan). The film won the Grand Jury Prize in 1967 Venice Film Festival.

The five members are Véronique (Anne Wiazemsky), Guillaume (Jean Pierre Léaud), Yvonne (Juliet Berto), Henri (Michel Semeniako) and Kirilov (Lex de Bruijn). A black student named Omar (Omar Blondin Diop), "Comrade X", also makes a brief appearance. The two main characters, Véronique and Guillaume Meister (the latter named after the titular hero of Goethe's famous 1795 bildungsroman Wilhelm Meister's Apprenticeship), discuss the issue of revolutionary violence and the necessity of political assassination to achieve revolutionary goals. As an advocate of terrorism as a means of bringing about the revolution, Véronique roughly corresponds to the character of Pyotr Stepanovich Verkhovensky in The Possessed. Véronique and Guillaume are engaged in a personal relationship, with Véronique as the more committed, dominant partner. Yvonne is a girl from the country who occasionally works as a prostitute for extra money to purchase consumer goods (much like Juliette Janson, the principal character in Godard's previous film, Two or Three Things I Know About Her). Yvonne does most of the housecleaning in the apartment and, together with Guillaume, she acts out satirical political skits protesting American imperialism in general, and U. S. President Lyndon Johnson's Vietnam policy in particular. Henri is eventually expelled from the group for his apparent backsliding Soviet revisionism, comically suggested by his defense of the 1954 Nicholas Ray movie Johnny Guitar. In this sense he loosely corresponds to the character of Ivan Shatov in The Possessed, a student who is marked for assassination because he has abandoned the tenets of leftist radicalism. Kirilov is the only character in the film who actually takes his name from a character in Dostoyevsky's novel; in The Possessed, Kirillov is a suicidal Russian engineer who has been driven to nihilism and insanity by the failure of his philosophical quest. True to his literary namesake, Godard's Kirilov also descends into madness and ultimately commits suicide. When Guillaume complains that he cannot listen to music and work at the same time, Véronique uses a facetious declaration of "unlove" to teach him (and the audience) the Maoist lesson of "struggle on two fronts". Véronique then leaves the apartment alone and sets off for a mission to kill the Minister of Culture of the Soviet Union, Mikhail Sholokhov, during his official diplomatic visit to France. On the train ride en route to the planned assassination, Véronique engages in a discussion with the political philosopher, Francis Jeanson (Jeanson was actually Anne Wiazemsky's philosophy professor at the Paris X University Nanterre during 1966–67; a few years earlier, he had once been a communist and the head of a network which supported the Algerian national liberation movement. This led to his highly publicized arrest and trial by the French government in September 1960.) In the scene on the train, Jeanson argues against the use of violence as a means to shut down the French universities. However this does not dissuade Véronique (for her dialogue in this scene, Godard fed Anne Wiazemsky her lines through an earpiece). Given that the film was made in March 1967—one year before violent student protest became a manifest social reality in France—La Chinoise is now regarded as an uncannily prescient and insightful examination of the New Left activism during those years. Along with Pierrot le fou, Masculin, féminin, Two or Three Things I Know About Her and Week End, La Chinoise is often seen as signaling a decisive step towards Godard's eventual renunciation of "bourgeois" narrative filmmaking. By 1968 he had switched to an overtly political phase of revolutionary Maoist collectivist didactic films with Jean Pierre Gorin and the Dziga Vertov Group, which lasted for the next six years until 1973.