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.
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
The original script treatment came from François Truffaut and Claude Chabrol but ultimately neither could agree on a proper story structure. Jean-Luc Godard was still very keen on the treatment (which would form the basis of his debut feature). He was working as a press agent at 20th Century Fox at the time when he met producer Georges de Beauregard and told him that his latest film was shit. De Beauregard was suitably impressed with his forthrightness that he hired Godard to work on the script for his next film "Pecheur d'Islande". After six weeks, Godard had had enough of the screenplay and suggested to de Beauregard that he should make this film instead. Chabrol and Truffaut agreed to give Godard their film treatment which was duly passed on to de Beauregard under the proviso that Godard be allowed to direct it (Truffaut and Chabrol had become established names at this stage). See more »
During street shots, countless passersby keep on staring into the camera, revealing the shots to be made without appropriate filming barriers and not using extras for pedestrians. See more »
This is the one that started it all kids, the daddy of post-modern cinema. MTV jump cuts, fractured soundtrack and images aplenty
Self reflexive to the point that it not only acknowledges its own existence, it revels in it.
All style and no substance is considered a bad thing today, unless its Tarantino. Well, if it wasn't for Godard, chances are there would be no QT.
All the characters and images, and dialogue and sets are constructed from all aspects of life - Michel is a Bogart collage. Patricia apes everything she sees, from her Interviewee's facial gestures to Michel's own.
Don't let all this technical mumbo fool you, I did my thesis on Godard and would happily bore the ass off you with a lecture in great detail about this film, but the fact is, it's a stormer.
Grips you by the throat and shakes the hell out of you, and it doesn't let go until the final breath.
Fantastically, artistically magnificent. If Godard wanted to make his debut picture to show how well he understood American ideals and the history of cinema, he couldn't have made a better picture.
Top stuff French guy.
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