To Love the Feeling Of Being In Love Or To Love Another Person

When Audrey Klebaner met Jeremia Lippmann for the audition for the roles of Eglantine and Perceval for the future film by Edgar (Bruno Pudzulu) – a gifted and independently thinking young man trying out himself as a film director – all as a part of Godard’s film, she perceived her love for Perceval as serious, as if it happens in life (may be, even more serious). Audrey’s exceptional sensitivity towards her role – towards the love she was supposedly to impersonate, becomes an artistic model for the type of love that can take place in real life.

Eglantine perceives love as an exceptionally valuable feeling, as a spiritual challenge for everyone who meets love in their life, as an enormous responsibility and an overwhelming happiness, which should not be profaned and wasted. She, if it’s possible to say, is a real “knight” of love, an alchemist of loving, a dedicated amorous nurse of her beloved. She calculates, as if, with a mathematical exactitude, how to amorously care for her Perceval.

Eglantine (Audrey Klebaner) loves not only internal world of Perceval (Jeremia Lippman marginalized and “dwarfed” in the shots and in the reality of the film’s events), but his very reactions on the world – his very attention to the world. She loves his gestures, body, feelings, thoughts, interests, and she loves his very existence in the world. Her love loves him almost too much, if such a thing is possible at all. And if super-love is, indeed, possible, it’s Eglantine who can be achiever of such exceptional love. May be, she is exactly this unique person who can prove – who, indeed, proves in Godard’s film that it’s possible.

Eglantine/Perceval episodes occupy the minimum of screen time. Is it enough space in a film with multiple mini-narratives for elaboration of such difficult topic?

Person like Godard who as a film director combines several professions on a high competence level expects from us the viewers to concentrate on the images and issues as quickly and intensely as he does himself.

Eglantine is exhausted with the reality of Perceval. It’s much easier to love without loving, to love frivolously, temporarily, ephemerally. But, may be, what happens with love of frivolous fascination can sometimes be more stable and even more real than “serious” love including scrupulous, heavy, methodical efforts of trained loyalty? May be, human love itself doesn’t mean to be too unique and profound? May be, we are not supposed to mix love and beloved – to project our love on another person? May be, loving and beloved are categories which too easily can be in “rivalrous” relations with one another? And then too tremendous love can a kind of – compete with the person we love.

Can it be that too strong and too profound love have aversive influence on the beloved? That real love was meant to be somewhere between heaven and earth, between zero of emotional investment and maximal emotional investment, even – between indifference and “care to the core”. May be, it is true about everything connected with human matters. We, like everything, are the fruit of approximate Creation, which includes cruelty and violence of life against itself. It’s, as though we weren’t meant to be perfect.

Eglantine/Audrey pronounces “the moment of youth” as “the moment of truth”. But what can be the moment of truth/youth? Can the truth of love as a youthful truth and, therefore, as the one perceived with over-passionate attention, pseudo-rationally “processed” and grasped, and intellectually controlled be successful? It’s not by chance that while pronouncing “the moment of youth/truth” Eglantine closes her eyes, as if, to keep the truth of love to herself – finalizing what she knows about love in front of herself, as if, the very “mechanism” of love came to be for her something that is part of her and, therefore, completely monitored. Poor Perceval. Poor Eglantine. Sublimation (intensification through sublimation) has reasonable limits or if it becomes fetishized it produces fetishes which are prone to dominate and manipulate our beloveds as much as ourselves.

Posted on Dec 19 2014 – Jean Luc Godard’s “Eloge de Amour/In Praise of Love/Eulogy to Love” (2001) – Godard’s Introduction To The New Century (Spiritually Intellectual Souls Amidst A Growing Social Anomie And Cultural Degradation) by Acting-Out Politics

Posted on Feb 8 2015 – In Praise of Love/Éloge de l’amour (2001) By Jean-Luc Godard by Acting-Out Politics