Post by Capo on Dec 27, 2006 1:14:20 GMT
À bout de souffle
Breathless
Jean-Luc Godard 1959 France
In Paris, an ultra-cool car thief kills a cop and seduces the girl he loves while running from the police.
In many ways typical of a would-be master's debut; original and influential, but also very tame, and, in the context of work made hereafter, a rather jejune affair. It remains of much worth, however, due in most part to the innovative cinematography - when Godard isn't cutting up conversations with random jump edits, Coutard's shoulder camera tracks its stars with casual flair, capturing Paris at night in loving black-and-white. Its charming stars and their characters fumble around in the moment, from admiring Bogart and stealing cars to questioning one's own integrity as a woman and a writer, both of whom are caught up in questions of individual freedom and choice - analysis of the film through an existential framework is most interesting.
Breathless
Jean-Luc Godard 1959 France
In Paris, an ultra-cool car thief kills a cop and seduces the girl he loves while running from the police.
In many ways typical of a would-be master's debut; original and influential, but also very tame, and, in the context of work made hereafter, a rather jejune affair. It remains of much worth, however, due in most part to the innovative cinematography - when Godard isn't cutting up conversations with random jump edits, Coutard's shoulder camera tracks its stars with casual flair, capturing Paris at night in loving black-and-white. Its charming stars and their characters fumble around in the moment, from admiring Bogart and stealing cars to questioning one's own integrity as a woman and a writer, both of whom are caught up in questions of individual freedom and choice - analysis of the film through an existential framework is most interesting.
