Tout va bien

Tout va bien is a little-known cinematic treat from 1972, rooted in French New Wave cinema narrative yet symbolizing a revolutionary mode of experimental filmmaking. The film is a star-studded project featuring prominent actors like Yves Montand, Jane Fonda, and Vittorio Caprioli. The film is helmed by two of the most avant-garde directors of the era, Jean-Luc Godard and Jean-Pierre Gorin.

Tout va bien or "All’s Well" is not just a movie but a socio-political commentary blending the personal with the political. The film's narrative is an artistic representation of societal shifts in the post-May 1968 era France, with a keen focus on labor unrest and societal dissatisfaction. The main leads—Yves Montand and Jane Fonda—play a married couple named Jacques and Suzanne, who find themselves caught up in a workers' uprising at a sausage factory.

Yves Montand portrays the character of Jacques, a renowned yet disenchanted filmmaker. His character is symbolic of the intellectual class and its complicity in maintaining the status quo. On the other hand, Jane Fonda impeccably performs the role of Suzanne, an American radio reporter. Though introspective, her character grapples with the challenges of navigating a professional media industry that suppresses her journalistic agency.

One of the unique aspects of Tout va bien lies in its radical storytelling style. The movie employs alienation effects, alongside frontal staging, long-duration shots, and direct address monologues. These techniques are used to break the illusion of the audience's cinematic comfort and pull them directly into the narrative. Dramatizing political didacticism, the film frequently breaks the fourth wall to involve the spectator in its critique of capitalist labor, consumerism, and compromised media.

Another notable aspect of the film is its striking visual design. The filmmakers use a crafty cut-away set, reminiscent of a dollhouse, to let viewers peer into the entrails of the factory and observe the characters. This visual design strategy in tandem with the deliberately paced narrative provides a raw and powerful insight into the conditions and struggles of the factory's workers.

While it may seem that the focal point of the film is a specific strike, Tout va bien is much more profound. It examines the connections between labor, capital, and consumerism, exploring their implications on personal relationships and societal structures. The film is essentially an exploration of the roles we play in our society and the conflicts that arise as we confront a reality that doesn't always align with our beliefs.

Tout va bien's effervescent combination of an intellectual script and dynamic filmmaking make it an enriching cinematic experience. There is a certain beauty in the film’s openness to letting the audience form their interpretations. Tout va bien doesn't spoon-feed any conclusions; instead, it encourages viewers to question, engage, and connect with the narrative independently.

As for the performances, Jane Fonda and Yves Montand shine through in their roles. Fonda's appearance in such an explicitly political film—replete with Godardian aesthetics—was an outstanding decision at this point in her career. Montand, too, by accepting a role that criticized some aspects he held dear, showed his remarkable commitment as an actor. Equally commendable is Vittorio Caprioli in a minor yet impactful role as a factory worker; he brings a certain authenticity to the film.

In conclusion, Tout va bien is much more than a product of star-studded collaboration. It is a historical artifact that offers a profound insight into an era of significant social and political change. The film might challenge conventional perspectives and comfort zones but remains an important and impactful work of cinema. For those intrigued by thoughtful, thematic storytelling and unconventional filmmaking, Tout va bien is an absolute must-watch. It’s a film that may not agree with everyone, but surely, marks a significant moment in the world of cinema: a time of societal unrest, personal evolution, and the blurring of lines between the political and the personal.