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
Although the usual method was to shoot the footage with synchronized sound, Jean-Luc Godard would call out to the actors the lines he wanted them to say (generally just written by him, so they had never seen the dialogue prior to shooting) and they would repeat them. Also, the handheld camera they used was so noisy there was no way to record sound on the spot. The lines of dialogue were dubbed later in post-production. 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 »
Sure it revolutionized movies, no argument there, but it's not that much fun to watch thirty-odd years later.
Godard's 'Breathless' is regarded as one of the most important and influential movies of the modern era. And you'll get no argument from me on that score. But unlike other classics by Hitchcock, Welles, Lang, Kubrick or Peckinpah, it is a movie to be admired, but not I'm sad to say enjoyed. Watching it to me is almost like doing homework. You can immediately see in what ways it must have been daring and innovative at the time, and you can understand how many things about it, (especially the editing, which alternates jerky cuts with slow passages of dialogue about "nothing"), influenced everything from 'Easy Rider' to 'Reservoir Dogs'. But is it entertaining viewing? No. Belmondo and Seberg are cool and charismatic and act impressively, but you never care one hoot for their relationship or what happens to them. The crime angle of 'Breathless' is just a Macguffin, and Godard just uses it as an excuse for some (admittedly) very impressive shots. In many ways it is quite a cold movie. The viewer is deliberately kept at a distance, and this is its ultimate downfall. I would recommend 'Breathless' as as essential viewing for every film buff because of its technique and style, but if you were to ask me if I honestly ENJOY watching this movie I would have to say no, I don't.
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