anyone else this film was heavily influenced by Le Mépris, not only because of the traking shots or the use of color, but also the deconstruction of cinema, the film within a film, Godard represented himself by someone else in Le Mépris by Lang here by Montad in that scene where he speaks (mocks?) about the nouvelle vague
I just want something to hold on to and a little of that human touch
I'd say "influenced" may not be the right word. I'd say it's more of a case of intertextuality, which is something Godard used in all of his films. Godard always seemed to reference his earlier works in the current film he was directing.
Another great example of intertextuality in Tout Va Bien is of course the long tracking shot in the supermarket at the end. Of course, that scene recalls the famous highway sequence in Weekend.
The two movies are quite different, contempt is godard at his most commercial, and tout va bien is godard at his most political/revolutionary. The deconstruction of cinema is apparent in most if not all of his films, it is one subject that embodies godard. And by the way godard represents himself as Piccoli not Lang in Contempt.
shareI would agree. There does seem to be a definite point of reference to Le mépris in particular, but at the same time, it could also be seen as a continuation of a key theme in Godard's work; chiefly the relationship between men and women. Think about how many of Godard's films have a central scene in which a man and a woman are in a single room together, and a drama plays out for at least a quarter of the film's duration. You can trace it right back to his early short film Charlotte et son Jules, through to À bout de souffle, Une femme est une femme, Le petit soldat, Le mépris, Pierrot le fou, La chinoise, the film in question, Détective, Prénom Carmen, King Lear and the relatively recent Hélas pour moi.
You can also argue the same about the "film about filmmaking" aspect, which again, is something that Godard has returned to throughout his career.