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.
During WWII, the United States set up army bases in Great Britain as part of the war effort. Against their proper sensibilities, many of the Brits don't much like the brash Yanks, ... See full summary »
Jesse has to get out of Las Vegas quickly, and steals a car to drive to L.A. On the way he shoots a police man. When he makes it to L.A. he stays with Monica, a girl he has only known for a few days. As the film progresses, the police get closer to him, and the crimes escalate.Written by
Colin Tinto <firstname.lastname@example.org>
When Lt Parmentel interviews Jesse's friend Tolmatchoff, the Lt refers to a "Johnny Godard". This is a nod to Jean-Luc Godard, director of the original Breathless (1960). See more »
At the start, when Jesse is driving the stolen Porsche to L.A, he is seen taking off his jacket. the next shot is a shot from behind, which shows him with his jacket still on. In the shot after that, he is seen continuing to take off his jacket. See more »
"Don't F-U-C-K with the L.A.P.D."
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I got tired of watching my censored taped-from-TV version of this film, so I finally bought the DVD. I am one happy hombre. In addition to the superior video and audio quality, one gets several unobstructed views of the object of Gere's love/lust -- and that's no insignificant treat.
One reviewer aptly referred to this film as Gere doing his "early-80s cheeseball riff on the sexiest man alive." I concur. "Breathless" could be seen as an expansion of his minor role as Diane Keaton's dangerous pretty-boy in "Looking for Mr. Goodbar" -- transposed from wintery Chicago to sultry L.A.
I won't analyze this film. It doesn't hold up under criticism, and certainly there is plenty to dislike, starting with the relentlessly sociopathic behavior of its protagonist. Rather, in the spirit of the film's love-almost-conquers-all theme, here's just a partial list of what I love about "Breathless":
1. Kaprisky in her see-through swimsuit. Rowrrrr! The rest of her wardrobe is pretty damn sexy, too. (The jury's still out on Gere's blue 'soot.')
2. The kiss at the diving board. It has to be one of the best in cinema history. Kaprisky is a goner after that.
3. Gere's line: "I think maybe I was rolling dice when I should have been rolling you." Cheesy, sure, but look at her face when he says it.
4. The shower scene, together. Kaprisky running hot and cold. "Jesse, you're crazy." ... "So what?" ... "It's OK. I like it."
5. Gere turning female heads wherever he goes, as he exudes his studly scent.
6. Los Angeles as The Place to Be. I lived and loved in L.A. during the early/mid-80s, and can vouch for the intoxication of being young and on the go in the City of Dreams. It's one big-ass place. McBride and veteran lensman Richard Kline do a superb job of capturing its heat, light (L.A. sunsets put a glow over the whole city), and diversity -- from the downtown hotels and office towers, to the industrial sections, to the Hollywood hills, to upscale West L.A., to the beach communities (where we see what must be every mural in L.A.).
7. The amazing ending. Gere taking his "all-or-nothing" motto to the wire. In what other movie will you see a dude dancing and singing to his woman while the cops have their guns drawn on him?
"Breathless" is Gere at his best. Maybe Kaprisky, too, for whatever that's worth. Don't think too hard about it. Just enjoy the ride.
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