"If you can't afford LSD, buy a color TV."

Well, that about sums it up. More a political/philosophical treatise than a movie, it's still amazing cinema. No one makes 'em like Godard, or to be precise, no one I've ever seen does. No one has the cojones to have the central character shift instantly from dialogue with her son to existential monologue, and with a straight take dead into the camera - and make it work! What other moviemaker is there who could get away with this sort of thing?

Godard uses the element of surprise (a concept that's completely foreign to the vast majority of filmmakers) to keep you watching while he expounds, sometimes rather pedantically even, on Vietnam, the evils of consumerism, and current affairs in general. The whispering narrator, the sudden shifts from ear-splitting noise (oh how Godard loves noise!) to silence, all keep you off-balance yet tuned-in.

Godard loves visual noise as well as the aural variety. His scenes often resemble Lee Friedlander photographs - very busy yet somehow harmonious. In making Two Or Three Things... he had to know that with no story or plot to speak of, and some fairly non-descript characters, he was going to need some other device to keep the audience focused on his talking heads. To this end he uses noise and the absence or cessation of noise. There is background noise when the characters speak, street noise, ringing phones, crying children. The whispered narration is a brilliant idea. Your immediate response is to concentrate on what is being said, which has to have been exactly what Godard intended.