In the following pages I argue that One Plus One is Godard's first attempt at making a truly dialectical film, an attempt that is ultimately thwarted by producer Iain Quarrier's final cut of the film, distributed under the title Sympathy for the Devil. In using the term "dialectic", I refer on the one hand to Hegel's three stages of dialectical movement: a thesis, an anthithesis which negates the thesis, and a synthesis, which resolves the tension between the thesis and antithesis. Though Hegel never used these terms himself to describe the triadic nature of the dialectic, they are used extensively by Marx, for whom they constitute the basis of materialist philosophy. This Marxist revision of Hegel's dialectic, as Godard seems to understand it, describes dialectical movement as an ongoing negation of negation that is not rooted in mind, as it is for Hegel, but in material reality. Class struggle is thus central to Marx's philosophy of dialectical materialism, which holds that nothing is final or absolute, revising the Hegelian dialectic as a form of critique that is necessarily revolutionary . . . I want to argue that it is this fluid theory of history to which Godard attempts to give cinematic expression in One Plus One, but by editing Godard's film such that its dialectic is formally resolved, Quarrier provides a solution to the mathematical expression One Plus One that is left unsolved in Godard's original title and cut of the film.