Charlie Kohler is a piano player in a bar. The waitress Lena is in love with him. One of Charlie's brother, Chico, a crook, takes refuge in the bar because he is chased by two gangsters, ... See full summary »
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 »
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 (email@example.com)
When Patricia and Michel are on the bed, and she is holding the Teddy Bear, the book Michel is reading is 'Photographing The Female Figure' by Bunny Yeager, from 1957. The close-up shots do not come from this book, though; it appears another book was used for these shots. See more »
When Patricia (Jean Seberg) is going up the escalator, a plant beside it can be seen moving as if knocked by the cameraman going up in front of her. See more »
So says the novelist in response to Patricia's question, "What do you hope to attain out of life?" That response is the philosophy of the film and of every character in the film. All want to be in control of their destiny. All want to be something that they are not. None are able to do any of these things. They are all contradictions. How can you die as an immortal? How can Patricia be free and independent is so many other things determine what she can do? How can this film transcend the screen while existing on the screen? This is an amazing film to watch. Goddard fills every scene with ingenuity and energy. He puts his actors in a beautiful environment and lets them do their thing. And they do it extremely well. The actors are beautiful. Not just cosmetically, but spiritually and psychologically. I am not sure that I liked either of the two main characters. I am sure I could not keep my eyes off them. I could not take my eyes off the screen. Techniques that novices today use for no substantial purpose are utilized by Goddard to amazing effect. The greatest filmmakers are the great editors. Goddard makes the editing a character itself. It is the nervous narrator hurrying the film along. It breathlessly awaits the next scene, and leads us to do the same. I like the way Goddard spends prodigious time simply watching his characters. The conversation scene at the center of the film is amazingly long and drawn out, yet I did not find it boring. I found it fascinating. People are fascinating. Everyone is trying to be something. It takes tremendous talent to indulge in the minutiae of existence. A great film.
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