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ABSTRACTUncharacteristic of a Jean-Luc Godard film from the 1960s, Sympathy for the Devil (1968) is largely ignored in Godard scholarship, dismissed as a high-profile, minor work that squanders its political-cum-‘rockumentary’ pretensions by diverging into quotidian Rolling Stones footage and esoteric didacticism. Yet considering its status as Godard's first commercial documentary, especially in the light of his written tirades against the mode in Cahiers du Cinema, the perceived shortcomings of the film reveal a calculated self-effacement that criticizes what it ostensibly participates in. Substantiated by interviews, criticisms, a shelved omnibus entry and the unrealized potential of One Plus One (Godard's intended title), this article proposes that Sympathy for the Devil is most effectively understood as Godard's indictment of the documentary mode, borrowing methodological signatures from the era's two divergent ‘truth’ cinemas—direct cinema and cinema-verite—only to subvert their aims with a perversio...
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