Two restless young men (Sami Frey and Claude Brasseur) enlist the object of their desire (Anna Karina) to help them commit a robbery––in her own home. French New Wave pioneer Jean-Luc Godard takes to the streets of Paris to re-imagine the gangster genre, spinning an audacious yarn that’s at once sentimental and insouciant, romantic and melancholy. —The Criterion Collection
The lynchpin of the French New Wave, Jean-Luc Godard was arguably the most influential filmmaker of the postwar era. Beginning with his groundbreaking 1959 feature debut A Bout de Souffle, Godard revolutionized the motion picture form, freeing the medium from the shackles of its long-accepted cinematic language by rewriting the rules of narrative, continuity, sound, and camera work. Later in his career, he also challenged the common means of feature production, distribution, and exhibition, all in an effort to subvert the conventions of the Hollywood formula to create a new kind of film.
Godard was born in Paris on December 3, 1930, the second of four children. After receiving his primary education in Nyon, Switzerland – during World War II, he became a naturalized Swiss citizen – he studied ethnology at the Sorbonne, but spent the vast majority of his days at the Cine-Club du Quartier Latin, where he first met fellow film fanatics Francois Truffaut and Jacques Rivette. In May… read more
Godard's second film capturing love triangles moves from monogamy to small time crooks, as two boys vie for Karina's attention whilst trying to rob a small fortune from her home. Karina is in top form here, portraying a heroine who is lonely and used. What really propels this film forward is it's upbeat mood (accompanied by catchy/jazzy music) and it's unique vignettes (e.g. the race through the Louvre, etc.).
classique = moderne | Thomas Hardy | shakespeare | "Everything that is new is thereby automatically traditional." Such strides were made back then. "I still believe at certain times."
The most accessible Godard film I've seen so far. A gangster film more concerned with loneliness, 60's Paris, homages to film & literature, and Anna Karin's face but still excites if you keep an open mind. What remains in my memory are its classic scenes of whimsy.
A smorgasbord of Godard posters on occasion of a major retrospective in New York.
Band of Outsiders 1964
Jean-Luc Godard does zany farce here grafting Hollywood B grade noir/musical on to the grim side of a wintry Paris giving us a pair of small time hoods… read review
Equal parts revolutionary, comedian, iconoclast, mountebank, agent provocateur and imp, Jean Luc Godard could offer surprisingly sweet subversions and Band Of Outsiders is a prime example. Made in… read review
The best of Godard’s early films (and of the French New Wave, barring maybe Trans-Europ-Express— Robbe-Grillet), and certainly not one of his (usually fascinating) ambitious failures, Band of Outsiders… read review