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10.06.2014
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Entering Alphaville in his Ford Galaxie, he poses as a journalist named Ivan Johnson, and claims to work for the Figaro-Pravda.
He wears a tan overcoat that stores various items such as a M1911A1 Colt Commander automatic pistol. He carries the then new cheap Instamatic camera with him and photographs everything he sees, particularly the things that would ordinarily be unimportant to a journalist. Despite the futuristic setting, references made in the film still set the action in the twentieth century. Alpha 60 is a sentient computer system created by von Braun which is in complete control of all of Alphaville. Alpha 60 outlaws free thought and individualist concepts like love, poetry, and emotion in the city, replacing them with contradictory concepts or eliminating them altogether. Images of the E = mcA? and E = hf equations are displayed several times throughout the film as a symbol of the regime of logical science that rules Alphaville. As an archetypal American private eye anti-hero in trench-coat and weathered visage, Lemmy Caution's old-fashioned machismo conflicts with the puritanical computer (Godard originally wanted to title the film Tarzan versus IBM).
The opposition of his role to logic (and that of other dissidents to the regime) is represented by faux-quotations from La Capitale de la Douleur (The Capital of Pain), a book of poems by Paul A‰luard.
Caution then enlists the assistance of Natacha von Braun (Anna Karina), a programmer of Alpha 60 who is also the daughter of Prof.


Caution falls in love with her, and his love introduces emotion and unpredictability into the city that the computer has crafted in its own image. Natacha discovers, with the help of Lemmy Caution, that she was actually born outside of Alphaville.
Professor von Braun (the name taken from German rocket scientist Wernher von Braun) was originally known as Leonard Nosferatu (a tribute to F. Murnau's film Nosferatu), but Caution is repeatedly told that Nosferatu no longer exists.
The Professor himself talks infrequently, referring only vaguely to his hatred for journalists, and offering Caution the chance to join Alphaville, even going so far as to offer him the opportunity to rule a galaxy. Alpha 60 converses with Lemmy Caution several times throughout the film, and its voice is seemingly ever-present in the city, serving as a sort of narrator.
The concept of the individual self has been lost to the collectivized citizens of Alphaville, and this is the key to Caution's riddle. At the end, as Paul Misraki's musical score reaches its crescendo, Natacha realizes that it is her understanding of herself as an individual with desires that saves her, and destroys Alpha 60. One of Alpha 60's dictates is that "people should not ask 'why', but only say 'because'." People who show signs of emotion (weeping at the death of a wife, or a smile on the face) are presumed to be acting illogically, and are gathered up, interrogated, and executed.
In an image reminiscent of George Orwell's concept of Newspeak, there is a "Bible" in each room: actually a dictionary that is continuously updated when words that are deemed to evoke emotion become banned.
When he refuses Caution's enticement to go back to "the outlands", Caution kills him with a pistol shot. Constantine had already played this or similar roles in dozens of previous films; the character was originally created by British pulp novelist Peter Cheyney.


However, in Alphaville, director Jean-Luc Godard moves Caution away from his usual twentieth century setting, and places him in a futuristic sci-fi dystopia, the technocratic dictatorship of Alphaville.
Constantine had become a popular actor in France and Germany through his portrayal of tough-guy detective Lemmy Caution in a series of earlier films. Godard appropriated the character for Alphaville but according to director Anne Andreu Godard's subversion of the Lemmy Caution 'stereotype' effectively shattered Constantine's connection with the charactera€”he was never again offered a Lemmy Caution role and reportedly said that he was shunned by producers after Alphaville was released. Assistant director Charles Bitsch recalled that, even when production commenced he had no idea what Godard was planning to do. Godard's first act was to ask Bitsch to write a screenplay, saying that producer Michelin had been pestering him for a script because he needed it to help him raise finance from backers in Germany (where Constantine was popular).
Bitsch protested that he had never read a Lemmy Caution book, but Godard simply said "Read one and then write it." Bitsch read a Caution book, then wrote a 30-page treatment and brought it to Godard, who said "OK, fine" and took it without even looking at it. It was then given to Michelin, who was pleased with the result, and the 'script' was duly translated into German and sent off to the backers.
In fact, none of it even reached the screen and according to Bitsch the German backers later asked Michelin to repay the money when they saw the completed film.



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