Jean-Luc Godard completists, rejoice -- your cries have been heard, there is now a definitive version of Made In U.S.A.. Though it was made in 1966, the film hasn’t been widely available in the United States due to copyright issues, but this fringe piece of filmic history is now ready to be seen and puzzled over. The film follows a young woman (Anna Karina) who plays detective as her lover has gone missing. Along the way she encounters a multitude of dubious characters, and as the murders pile up she must navigate the murky waters of political intrigue. The film even takes place in Atlantic City and though the place bears no resemblance to the American city of the same name, American influences are felt throughout the entire film. Indeed, the plot plays second fiddle to image here, as Godard is concerned with presenting a vibrant and exquisite visual homage to the pop art of the 1960s, even invoking the colorful and energetic nature of political propaganda. Marianne Faithful makes a noteworthy appearance, albeit brief, singing an acapella version of her song “As Tears Go By,” though if it wasn’t pointed out that it was indeed the singer, she might be mistaken for an elegant extra. With various scenes being replayed, or halted and begun again, the film feels spontaneous, chaotic, and unscripted. In fact, Godard was prepping and shooting Two Or Three Things I Know About Her only one week later, and the differences are bleak. Two Or Three Things feels elegant, composed, a wholly conceptualized and actualized moment, whereas Made In U.S.A. feels like a gathering of talent thrown into a room and given free reign. Anna Karina vehemently denies this idea in the supplemental interview and gives proper credit to Godard’s sense of cinema and ability as a filmmaker. Made In U.S.A. must then stand as an entirely intentional work, meant to combine political critiques, deliberate cinematic movements, and the intensely personal mood that prevails throughout.

The autobiographical nature of Made In U.S.A. is fascinating, as the lead actress Anna Karina and Godard had been married in the past, but were divorced at this point. As Colin McCabe and Richard Brody point out in the astoundingly good biographical background piece “On The Cusp” in the supplemental features, this film feels like a farewell. The camera lingers longer than necessary on Karina’s beautiful face, her visage often entirely filling the frame, and one begins to feel the longing that this obsession begets. In the end, her character shoots two different characters that seem to be meant to stand in for Godard, as one even cruelly states in his last breath, “You have robbed me of my youth.” Once one understands that one is viewing a bitter man’s final goodbye to a distant woman, the film transcends confusing mess to become an important milestone for Godard. In his next work shot merely days later, the tone is confessional and private, yet in Made In U.S.A., the man is putting the past away in a most public setting, working through his intensely personal feelings for both a woman he has loved with passion, as well as political views he is unsure about. A second viewing is necessary to truly appreciate Godard’s intention and meticulous attention to detail, as well as to catch the dozens of references to American film and literary pop culture.

For someone who fails to see the importance of the film upon a first viewing, the supplemental material will be fascinating. As always, Criterion has done up the packaging in a way that is absolutely sure to please, vibrant and beautiful. New features include a new and far more accurate translation of the subtitles, and interviews with Anna Karina as well as László Szabó. Also, trailers and a lengthy interview with Godard specialists Colin McCabe and Richard Brody are to be found, and this interview alone is a fantastic DVD extra. An essay written by J. Hoberman explores the cultural and cinematic impact of Made In U.S.A. and places it carefully in a considered context. People uninterested in American and French History may be interested for the pop culture references which are so plentiful that a helpful concordance has been included in the supplemental features. Every single character in the film is pointed out and dissected, providing a plethora of fascinating tidbits and connections for cinephiles to bring up at cocktail parties or whisper under their breath at a rare screening of Made In U.S.A.. One thing that might have been nice is an interview or director’s commentary with Godard, discussing the importance of Made In U.S.A. from a current perspective as he is still alive, but the film does not suffer for the lack of it.

This film was made nearing the end of his all-important “New Wave” period, and as a quintessential French director working at the height of his powers, the film is worthy of a viewing by any serious Godard fanatic. Even casual fans might find something to enjoy, though the plot may prove too dense for casual viewing.

Made In U.S.A. is available as part of the Criterion Collection.

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