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Contempt

Contempt

Drama · Romance · 1963

Art film producer Jeremy Prokosch, unhappy with the work of his director, hires Fritz Lang (as himself) to direct an adaptation of The Odyssey, but when it seems that the legendary filmmaker is making a picture destined to bomb, he brings in a screenwriter to energise the script. The professional intersects with the personal when a rift develops between the writer and his wife.

Movie details

Contempt

“More bold! More brazen! And much, much more Bardot!”

1963 Drama · Romance 1h 43m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Art film producer Jeremy Prokosch, unhappy with the work of his director, hires Fritz Lang (as himself) to direct an adaptation of The Odyssey, but when it seems that the legendary filmmaker is making a picture destined to bomb, he brings in a screenwriter to energise the script. The professional intersects with the personal when a rift develops between the writer and his wife.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Contempt?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Jean-Luc Godard

Written by

Jean-Luc Godard

Brigitte Bardot

Brigitte Bardot

Camille Javal

Michel Piccoli

Michel Piccoli

Paul Javal

Jack Palance

Jack Palance

Jeremy Prokosch

Giorgia Moll

Giorgia Moll

Francesca Vanini

Fritz Lang

Fritz Lang

Fritz Lang

Raoul Coutard

Raoul Coutard

Cameraman

Jean-Luc Godard

Jean-Luc Godard

Lang's Assistant Director

Court is in session

Put Contempt on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.