In 1966, producer Georges de Beauregard approached Jean-Luc Godard with an offer to make a film using available funds on short notice. Godard agreed and initially proposed adapting Donald E. Westlake's crime novel "The Jugger." However, when the resulting movie, titled *Made in U.S.A.*, was completed, Godard intentionally moved away from a straightforward adaptation, utilizing the novel’s basic plot as a framework to explore other subjects that interested him. Journalist Paula (played by Anna Karina) travels to a small town following the mysterious death of her former boyfriend, Richard, which she suspects is murder. She adopts the persona of a tough detective, complete with a pistol and a trench coat reminiscent of Humphrey Bogart. Her investigation leads her to encounters with the doctor who performed the autopsy and clashes with the police, but primarily involves interactions with two gangsters portrayed by László Szabó and Jean-Pierre Léaud. Godard retains just enough conventional dialogue and action to keep viewers oriented within the crime novel's storyline, yet most of what unfolds on screen should be understood as abstract representations of events that would have occurred in the book. The characters’ interactions serve purposes beyond the plot itself; they engage in nonsensical conversations filled with wordplay and allude to French politics during a period when Godard was concerned about the declining values of the French Left and the rise of fascism and consumerism. The Ben Barka affair, concerning the murder of a Moroccan dissident in France in 1965 potentially involving French security services, is a significant presence throughout *Made in U.S.A.*, overshadowing Westlake’s original story almost entirely. As if recognizing that he had stripped down the narrative to such an extent that it needed more content, Godard incorporates brief musical interludes like Marianne Faithfull singing "Tears Go By" and Kyôko Kosaka playing guitar and singing in Japanese. This isn't among Godard’s finest works. He reuses elements from his earlier film *Pierrot le Fou*, which itself was a collection of shots from previous films, functioning as a summation of his early career. When he repeats this approach with *Made in U.S.A.*, the effect is considerably weaker. Nevertheless, even considered a lesser Godard film, it remains an affecting experience. Shot in color and Cinemascope, the movie provides a visually rich presentation; the best aspects of 1960s fashion and design are prominently displayed and practically leap off the screen, creating a vibrant feel. It’s unfortunate that Criterion's edition is only available on DVD, as a Blu-Ray release would have enhanced the viewing experience further. Godard’s longtime cinematographer Raoul Coutard delivers some striking extended shots. Ultimately, this film represents Godard’s final major tribute to Anna Karina’s beauty and grace, which was truly remarkable and remains captivating even decades later.

Source on TMDB