In its opening shots a girlie tabloid slips down to reveal the face of a man, a cigarette dangling on his lips as his eyes suspiciously survey's the area under his jaunty cocked hat that is obviously too large for his head. He turns and he rubs those lips with the edge of his thumb; and he is ready for action. At a signal from a female accomplice across the street he hot-wires a big Oldsmobile just parked by an American tourist. The girl begs to be taken along, but the man coldly abandons her, and quickly drives off, as the audience feels an exhaling rush of outlaw freedom letting loose in this opening sequence, a Hollywood crime genre set in overdrive. The film irregularly jump-cuts within continuous movement or dialogue, trying no attempts at all to make them match, as bursts of pop music and sound effects occur in the background, and you hear the man spout off spontaneous dialogue which are directed towards the camera, towards us. "If you don't like the sea... if you don't like the mountains...if you don't like the city... then get stuffed!" Ladies and gentlemen, this is the film that started it all. All the modern movies started here with Jean-Luc Godard's Breathless. There hasn't been a film début so influential, so groundbreaking and so changed the fundamental rules of film since Orson Welles Citizen Kane. Every music video that you have seen on MTV, every popcorn action flick that you watch in the theatre and every movie with throwaway film references wouldn't have begun if it wasn't for Breathless. It was also the radical technique of jump cuts which became a huge breakthrough in the way films were conceived and constructed, which was a very startling innovation for audiences to witness at the time Breathless was released, with critic Andrew Sarris stating, "the meaninglessness of the time interval between moral decisions." [fsbProduct product_id='744' size='200' align='right']Breathless became the quintessential film of the French New Wave which was a movement that rejected the traditional French cinema and embraced a rougher, more freewheeling style of film-making, often choosing to shoot on location, using natural lighting and hand-held cameras which added a personal and experimental feel for the films. Many of the New Wavers were critics for the anti-establishment magazine Cahiers du Cinema which included Alain Resnais, Claude Chabrol, Eric Rohmer and Jacques Rivette and some were even working on Breathless, including not only Godard's direction but an original story written by Francois Truffaut, and Claude Chabrol as the production designer. (Jean-Pierre Melville, plays the classic novelist interviewed by Patricia at Orly, in which he explains his own theories on life, sex and women). And yet what makes Breathless extremely pivotal was the cool detachment of narcissistic characters who were selfish, obsessed with themselves and oblivious to society and of the outside world. Michel, the main character in Breathless is a rebellious and arrogant youth who believes he is invincible to the brutal realities of the law and pretends to be as tough as the movie stars he sees in the movies. These anti-heroes in the cinema was a direct response to the anti-establishment of authority figures and of the rebellious youth in the late 1960's, which would start a trend that would be created and expanded upon again in again in America with new and fresh upcoming stars like Robert Deniro, Jack Nicholson, Al Pacino, Dustin Hoffman, Gene Hackman Dennis Hopper, and Robert Duvall during Hollywood's 1967-1974 Golden-Age.
Patricia runs into a movie theater and escapes using the restroom backdoor losing the detective and reuniting with Michel. The two decide to go watch a western and after the movie they pick up a France-soir and look for a hotel to spend the night. Patricia reads in the France-soir that a public manhunt is out for Michel as it also says that Michel is married. Michel lies again saying, "that was ages ago. She was a wacko. She dumped me," Patricia stupidly accepts it and says she is fond of Michel. She is excited to be in a stolen vehicle and with a fugitive wanted from the police for killing a police officer. Patricia is curious how the detectives knew she was with him and Michel says that someone must have informed. She believes informers are horrible and Michel says, "No, its normal. Informers, inform, burglars burglar, Murderers murder, lovers love."
Watch The Movie Bonjour Antoine-adds Hit
Download: https://urluss.com/2vCfQT
On his YouTube channel Le cinéma de Durendal, movie critic Durendal talks about the movies he just watched. This includes well-known blockbusters like Star Wars and Marvel movies, as well as lesser-known films. 2ff7e9595c
Comments