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
Jean-Luc Godard and Raoul Coutard found a way to shoot at night without additional lighting by using high-speed (400 ASA) film meant for still photography. Developing it in a special chemical bath doubled the sensitivity without becoming too grainy. Using that film, however, wouldn't have been possible with most movie cameras because the sprocket holes on photo film are different than those on movie film. But it worked with the Cameflex cameras they were using on this production because the claws on those cameras, which pull the film through, only touch the edge of the perforation rather than going all the way through it, eliminating the need for a precise match. 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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