A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Paul is young, just demobbed from national service in the French Army, and dishillusioned with civilian life. As his girlfriend builds herself a career as a pop singer, Paul becomes more ... See full summary »
Jesse has to get out of Las Vegas quickly, and steals a car to drive to L.A. On the way he shoots a police man. When he makes it to L.A. he stays with Monica, a girl he has only known for a... See full summary »
Michel Poiccard, an irresponsible sociopath and small-time thief, steals a car and impulsively murders the motorcycle policeman who pursues him. Now wanted by the authorities, he renews his relationship with Patricia Franchini, a hip American girl studying journalism at the Sorbonne, whom he had met in Nice a few weeks earlier. Before leaving Paris, he plans to collect a debt from an underworld acquaintance and expects her to accompany him on his planned getaway to Italy. Even with his face in the local papers and media, Poiccard seems oblivious to the dragnet that is slowly closing around him as he recklessly pursues his love of American movies and libidinous interest in the beautiful American. Written by
Gabe Taverney (firstname.lastname@example.org)
Ladies and Gentlemen, the 8th Wonder of the World: Jean-Luc Godard.
This is the one that started it all. With the story of a man on the run calling himself Laszlo Kovacs (a cinematographer of the time), Jean-Luc Godard arrived in the movies (well, on the production end, at least). This also more than his typical film essay. The story by Francois Truffaut makes for a terrific Godard script (the Truffaut stamp makes it comparable to SHOOT THE PIANO PLAYER). Jean-Paul Belmondo does well in the Kovacs role, humanizing our bad-guy hero right up to the slam-bang finish. Jean Seberg is his conflicted lover who must... well, just watch. A landmark of the French New Wave, which is one of the most important movements in cinema. Vastly superior to the 1983 BREATHLESS with Richard Geer and Fassinder's homage THE AMERICAN SOLDIER. This is guaranteed to be like few movies you've seen before (unless, of course, you're a fan of the New Wave). BREATHLESS is also very memorable for its music and unusual photography. Shows how European film brought out the importance of character in film and raised it to new heights (whereas in American film, a close-up is the closest you'll get to character development). This is a must for any film student and for anyone who just loves movies.
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