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Made in U.S.A

Made in U.S.A

Crime · Mystery · Comedy · 1967

Paula Nelson goes to Atlantic City to meet her lover, Richard Politzer, but finds him dead and decides to investigate his death. In her hotel room, she meets Typhus, whom she ends up knocking out. His corpse is later found in the apartment of David Goodis, a writer. Paula is arrested and interrogated. From then on, she encounters many gangsters.

Movie details

Made in U.S.A

1967 Crime · Mystery · Comedy 1h 25m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

Paula Nelson goes to Atlantic City to meet her lover, Richard Politzer, but finds him dead and decides to investigate his death. In her hotel room, she meets Typhus, whom she ends up knocking out. His corpse is later found in the apartment of David Goodis, a writer. Paula is arrested and interrogated. From then on, she encounters many gangsters.

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 Made in U.S.A?

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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Names above the title

The people responsible.

Directed by

Jean-Luc Godard

Written by

Jean-Luc Godard

Anna Karina

Anna Karina

Paula Nelson

László Szabó

László Szabó

Paul Widmark

Jean-Pierre Léaud

Jean-Pierre Léaud

Donald Siegel

Marianne Faithfull

Marianne Faithfull

Marianne Faithfull

Yves Afonso

Yves Afonso

David Goodis

C

Claude Bakka

Man with Marianne Faithfull (uncredited)

D

Daniel Bart

Policeman (uncredited)

Court is in session

Put Made in U.S.A on trial.

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

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.