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An American watching Charlotte et son Jules, or Charlotte and Her Boyfriend, may be inundated with past visions of men berating women in similar fashion, in similar scenarios, in similar films, like Spike Lee’s She's Gotta Have It.
Anne Collette is Charlotte in Jean-Luc Godard’s Charlotte et son Jules as Tracy Camilla Johns was Nola Darling in Spike Lee’s 1986 homage to Godard; as Charlotte et son Jules was Godard’s homage to Jean Cocteau’s one-act play Le Bel Indifférent.
Before the flashbacks to Spike Lee’s debut film dissolve from memory, one may further consider the striking contrast between the bright, colorful politically charged films Mr. Lee would go on to make after the black and white sex farce She’s Gotta Have It, and how that trajectory mirrors Godard’s transition from sexy comic romps to skewering the body politic.
Don't Say Anything, I Know What You're Going to Say
Charlotte et son Jules is set in a hotel room in Paris, where a man waits impatiently for his girlfriend to return. Upon her return, the man, Jean, played by the soon-to-be superstar Jean-Paul Belmondo (Breathless) begins what will be a non-stop monologue listing among other things, the faults and failures of Charlotte.
The comic tone of the film is set as soon as Charlotte arrives and flashes her brilliant smile, devouring the over-bearing sour puss Jean. The hotel room is tiny, and the amount of effort it must have taken to maneuver around the room, as an actor, had to have been quite challenging.
Jean-Paul Belmondo never misses a beat in his constantly expanding laundry list of reasons for their relationship’s demise. Jean circles and paces the room like a caged animal, as Charlotte skillfully teases and prods the thin-skinned tiger, with her sly looks and come hither eyes.
For a brief, fleeting instant, a mind pickled in cinematic memories may wonder if Jean is raging against a ghost, the way Bruce Willis sat picking over the bones of his marriage in the restaurant scene from M. Night Shyamalan’s The Sixth Sense.