[REWATCHED] To put it simply - powerful piece of cinema. Experiments with film structure and form. Funny, inventive dialogs, great performances... wait what am I doing? Explaining why Breathless is fucking great? It's just is, deal with it. P.S. Jean Seberg is gorgeuos
A deconstruction of the masculine role in love by driving it ad absurdum. Michel is incapable of seeing Patricia as the person that she is. But I would not call the film feminist. Patricia is caught in a romantic love to a man who is not seeing her as what she is. Being an American woman and not supposed to be devote, she plays "the pretty girl" and stays caught in the same untoward gender stereotype, as is Michel.
I love the Nouveau Vague, and this movie is groundbreaking, obviously, which is why it's still getting two stars. Aesthetically and stylistically, it's wonderful. However, it's by far not Godard's best, the plot is barely there & what is there is dreadfully dull, the characters have no redeeming characteristics and aren't interesting enough to be able to carry a movie. All in all, not comparable to his later work.
Influence ≠ Quality. It lacks any real depth and is little more than a self-conscious homage to film noir. The dialogue is stilted, performances bland, cinematography poor. Perhaps it was important in moving away from the artificiality of 'quality cinema', but it doesn't put this new form to any use. The jump cuts serve no purpose other than to draw attention to themselves, regardless of Godard's intent.
Michel may be out of breath, but it's Patricia who's out of her depth as the feckless hipster who - insouciantly, natch - smokes her way around freewheelin' Paris and falls for the Gallic charm and Gaulloises stench of a narcissistic cop killer. They both realise the error of their ways too late, as Godard jump cuts his shopping trolley camera through Paris' boulevards and into film history.
4.5/5 - Godard weaves moments of youthful philosophizing and faux-fantasy, all an exercise for his infamous hyper-stylish cutting approach to storytelling, playing with the film's frames like great free jazz's musicians toyed around with their time signatures. The almost improvisational cadence at which the images bounced off from one another was, at times, so intense and frenetic, it left me in a near fugue state.
Although I am not usually a fan of Godard, this is one of the best I have seen from him. I still don't love it as much as many others do, but Jean-Paul Belmondo and Jean Seberg ooze cool and effortless appeal throughout, the former managing to do so even while portraying quite a nasty character.