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 »
A woman takes the law into her own hands after police ignore her pleas to arrest the man responsible for her husband's death, and finds herself not only under arrest for murder but falling in love with an officer.
Abel Davis is a criminal, hunted in Italy. The police are closing in, so he and his pal Raymond arrange to flee back to France with Abel's wife, Thérèse, and their two young sons. Abel and ... 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)
According to Jean-Pierre Melville, Godard asked him for consultation during the post-production stage because the first edit was too long for distribution. Melville suggested Godard remove all scenes that slowed down the action (his own turn as novelist Parvulesco included). But instead of excluding entire scenes, Godard cut little bits from here and there. This led to the "jump cut" technique this movie introduced. Melville declared the result to be excellent. 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 »
If you've never seen the BBC sitcom Black Adder, there is a scene in which the idiotic Baldrick hands Black Adder a copy of his novel (his "maximum octopus"), and it goes like this: "Once upon a time there was a lovely little sausage called Baldrick, and he lived happily ever after. The End." Black Adder, quite rightly, deems it "completely and utterly awful." Now imagine if the intellectuals of the day heralded Baldrick's manuscript as one of the best novels ever written, and it appeared constantly on critics' All-Time-Top-Ten lists. This is very close to the situation that has actually occurred with Breathless. It's one of the worst movies I've ever seen (and I'm a regular viewer of MST3K), and it is lauded by critics and famous film makers alike as a true masterpiece, up there with Citizen Kane, The Searchers, and Modern Times. Apparently, if you make a movie disjointed, poorly edited, illogically paced, and really uninteresting, all you have to do is be French, call it "new wave" and you can get away with it. Before you commie elitist snobs say I don't know what I'm talking about (probably too late), let me say I'm no stranger to so-called sophisticated films. My favorites are Andrei Rublev, 2001, 8 1/2, and The Thin Red Line, not exactly Big Momma's House. Some might be inclined to say that this movie is a style over substance, except it has no style. It has nothing. It is an artistic black hole, playing its modernist siren song to weak-minded intellectuals (a contradiction in terms, I know) and wasting people's time for over 40 years. One day, maybe five thousand years from now (give or take...), critics and cineastes will rightly ignore this movie, perceiving it's heyday popularity as a mere freak occurrence in public opinion, like disco or hula-hoops. Those of us who value rightness, decency, and good movies like The Crowd, can only hope.....
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