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.
Paul is young, just demobbed from national service in the French Army, and disillusioned with civilian life. As his girlfriend builds herself a career as a pop singer, Paul becomes more isolated from his friends and peers ('the children of Marx and Coca Cola', as the credits announce) and their social and emotional politics.Written by
I can't get over how beautiful this film is. First, Leaud gives such a wonderful performance, and its humor is easily overlooked; his face, in certain scenes, has an aloof, unsuspecting, and innocent quality, that it ads to his confusion-we wonder how he can be involved in something as serious as the communist party. He travels through his life with a sort of on-purpose, slash, accidental attitude that I can never quite explain. Then, there's Madelaine. Madelaine, with her jet black hair, confusion of love vs. sexuality, and striking beauty, represents everything I love about the women of the French New Wave. Very insecure, but, at the same time, they have definite plans and agendas. Finally, with all of the political and social commentary, it's easy to overlook just how visually beautiful the film is. The two protagonists, in bed, unsure of what to make of their intimate situation. They're so close, so attracted to each other, and Godard puts them in such a beautiful composition and lighting that it almost seems saccharine, but they still don't know what to make of it.
12 of 26 people found this review helpful.
Was this review helpful to you?
| Report this