Every Man for Himself
Every Man for Himself

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- 50/100 based on 35,987 votes
  • Released: 1980
  • Runtime: 106 mins
  • Director:
  • Studio: Shaw Brothers

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Actors in Every Man for Himself:

Wang Sha
Lam Fai-Wong
Helen Poon Bing-Seung
Yang Hsiung
Lau Hok-Nin
Kent Cheng Jak-Si

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Movie Reviews

User Review - 10/10 by Silvanus SDon't ask. That quizzical, aloof Aquarian mind of Godard is as remote and immediate as ever in this tale of capitalism mismatching souls, but it has stuck with me for 20 years.
User Review - 10/10 by Julien BLe grand retour de JLG a la fiction apres les annees video, dont il exploite ici les enseignements.
User Review - 10/10 by Jack GGodard's "comeback" movie is his best work since the 1960's, which is either saying a lot or a little depending on point of view. It actually tells *stories* while having the usual lot of bizarre play and dour commentary on commerce. It's the kind of movie that reminds me why I keep watching whatever the man does, even after I get burned by one of his more bullshitty movies.
User Review - 10/10 by Tio BA film that is "composed" in the form of a sonata, and a superior all-men-are-scum statement by Jean-Luc Godard. He will be spared when the Womyn rise up and slay their male oppressors.
User Review - 8/10 by Greg Wgood return to film from the master director Goddard
User Review - 8/10 by Matthew SThere were better films releases in 1980, but this film might be the most artistically unique.
User Review - 8/10 by John SAdmittedly, it felt a little less emotionally satisfying than Godard's other work, but it's still an amazingly unique film with such a gritty and demented atmosphere without being obscene or vulgar. Not to mention one of the most oddly amusing sex scenes...EVER. I don't know, I just didn't really get it. But i can still see that the film was beautifully done with gorgeous imagery and great performances.
User Review - 8/10 by Cody SWelcome to a semi-autobiographical tale by Jean Luc Godard. One of the principal actors is indeed Godard himself (Jacques Dutronc). It's a multiple plot tale, revolving around the central theme of failed relationships. That of his on and off again girlfriend (Nathalie Baye) , his ex-wife (Paule Muret) and daughter (Cécile Tanner) and a one-night stand with a prostitute (Isabelle Huppert). It was hailed as his return to linear storytelling (being his other films can be quite esoteric). But it is still classic Godard with some outrageous dialogue (with the Italian car attendant) and unsettling frank discussion about entering prostitution (Huppert and Anna Baldaccini) being just two examples. The cinematography adds to the film's mystic, periodically having "slow motion" shots to illustrate loneliness and desperation sometimes met in life. The surprisingly strong performance of Huppert not as a femme fatale but that of a dispassionate woman trying to just make ends meet. Dutronc does a good job of being a man trapped in misery trying to end the cycle of failed relationships, while a brief but all too real performance of Paule Muret and Cécile Tanner were scene stealers. Nathalie Baye does give a strong performance as the "other woman" or "wronged lover" role, trying to move on literally (her ex-lover is taking forever to rent out their former love nest). Figuratively (most shots she is alone, e.g: long biking, walking shots, her moving out the country, away form the city). She even tries desperately to seduce her photographer friend (Michel Cassagne) who ends up finding her repulsive. Carefully crafted we find how all of these multiple plot points coalesce into a linear denouement that is abrupt but also gives a bittersweet conclusion to to this menagerie of lost souls. With everything said and done this might be one of my favorite yarns spun by Mr Godard. It's uncluttered design both intrigued me and kept me watching. While being a more conventional story it also gives the audience "shock factor" in ways that thickens the plot with twists and turns similar to Nathalie Baye's bicycle in the French countryside. There is once again no small scene in the masterstroke by Jean Luc Godard.
User Review - 6/10 by Martin TI could tell you what happens in this movie, but I couldn't tell you what it's about... and I'm not certain Godard could, either. I always get the feeling that if you asked him why he did certain things, he'd have all these elaborate reasons but the honest answer would just be "I dunno, it just sounded cool". Or maybe that's me justifying my lack of understanding. Still, at least he keeps the political polemic out of this one, for the most part, and doesn't have quite so many scenes of people reading straight out of a text (the worst possible way to make a point, in my opinion). It's not as cold and clinical as a lot of his post-1965 work, and even if the moments don't seem to form any coherent whole, at least they're mostly interesting moments.
User Review - 6/10 by Eric BJean-Luc Godard's "Every Man for Himself" is intriguing, but not as essential as the director's early films. Lack of cultural context may be the key. His '60s work was stuffed with topical commentary on Paris street life and restless youth, but "Every Man for Himself" is just an insular tale of a few random urbanites. It was released in 1980 but, really, the script could have been written during any year. Regardless, the film's appeal mostly hangs upon a beautiful, blank-faced prostitute (Isabelle Huppert, whose character shares her name). Be patient: She doesn't enter until a half hour has passed. Isabelle is neither energized nor depressed by her unsavory job, and meets her appointments with all the passion of a housewife drying dishes. She's even game to let her younger sister into the racket -- well, as long as the sister has nice enough breasts and is willing to cut Isabelle a share of her profits. Isabelle is equally nonchalant about almost any perversion, whether it's incestuous role-playing, spanking or the strangest foursome choreography you've ever seen. The other storyline involves a couple who mostly function apart from Isabelle. Their tale is not so interesting, even though the male is provocatively named "Godard." This Godard (pop singer Jacques Dutronc) is emotionally aloof, works in television and has a child via an estranged wife. He's also on the brink of losing a relationship with a film editor (Nathalie Baye) who likes to bicycle rather than drive. She has an earthy sensuality but Godard, hidden behind a shaggy haircut and oversized glasses, is an unlikable cipher. Eventually, the two intersect with Isabelle. Director Godard's usual tricks abound, jabbing the audience to notice the artifice of cinema. Title cards appear, dividing the film into four vague sections. Characters notice the non-diegetic music, and one shot where a string section appears onscreen almost recalls the absurd Count Basie cameo in "Blazing Saddles." Jerky, slow-motion moments keep intruding for little discernible reason (a late example does save the need for a stunt man). And dialogue repeatedly overlaps across scenes -- in other words, a conversation lingers on the soundtrack after the visual setting jumps elsewhere. There's even a quick in-joke pointing out how movie vehicles typically lack a rearview mirror. "Every Man for Himself" was Godard's return to narrative film after several years of thorny experimentation. His peculiar genius remains evident, but seems a bit diffused.

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