It is sometimes claimed by evil tongues that all film critics are frustrated theorists who only write about film because they have failed themselves to be successful filmmakers. What truth there is in this theory, it can be argued at least not (anymore) about film legend Jean-Luc Godard, who was both a major critic as a hugely influential and pioneering filmmaker. His first project and immediately his greatest achievement - if it were its own "Citizen Kane" - was "À bout de souffle", a film which broke with tradition in the field of assembly and camera work and this film language changed dramatically. Filmmakers were everywhere liberated by Godard's spontaneous style, which they sometimes inspired directly, for example in the case of Arthur Penn's "Bonnie & Clyde", or encouraging them to develop their own style, such as William Friedkin ("The Exorcist," "The French Connection ') indicating a documentary on the Blu-ray edition of the film. 'À bout de souffle "is one of the largest, most representative films of the Nouvelle Vague movement and a phenomenon in itself. It is a film that even in the twenty-first century - with its smooth, loose style and hip atmosphere - is still fresh and intriguing.
Jean-Luc Godard, before he became famous as a director with "À bout de souffle" critic when founded in 1951, leading French film magazine "Cahiers du Cinema". Together with renowned colleagues such as François Truffaut, Claude Chabrol, Jacques Rivette, and Eric Rohmer (later filmmakers), he was opposed to the old, traditional French cinema, mockingly called the "cinéma de papa". In Godard's first feature film he gives a nice nod to this data when main character Michel Poiccard is approached on the street by a girl to him a copy of "Cahiers du Cinema" wants to sell. "Surely you have nothing against the youth?" The young woman asks as she shows him the magazine. "Yes, I love you more elderly." Replied Michel, running away. Which they nakijkt him in disbelief.
Michel Poiccard just infatuated with old established American heroes such as Marlon Brando and Humphrey Bogart. Of the latter actor he has acquired the habit of rubbing his thumb over his lips, and in one scene he remains even for a while, admiring a photo of "Bogey", which hangs in a display of a cinema. Michel, a debutant Jean-Paul Belmondo, is just about the personification of "coolness" - and this will be - with his hat, sunglasses, and constant cigarette in his mouth. Also quasi-indifferent attitude towards everything and everyone (except Patricia) and (small) criminal behavior shout "anarchism". But while Michel at first glance seems to be a warm and open character, the film does have a heart and a lot of charm. This is not in the least by his co-star Jean Seberg, by her boyish haircut and sometimes playful behavior happens very accessible, despite the seeming inaccessibility of her classic beauty. It is impossible to avert your eyes from her. She is there and admired by land to be and it's not hard to see why Michel has a warm spot in his heart for him.
At the time must 'À bout de souffle "were downright alienating the audience, who was accustomed to continuity editing, stable camera work and a clearly defined, structured script. Jean-Luc Godard threw it all down with its loose narrative (in the core is based on a news story, suggested by colleague François Truffaut), often improvised dialogue, references to film (icons) and culture, and the weird jump cuts and (mere) handheld camerawork. Yet it is in its own way an organic whole, a logical symphony of sound and image. It's a fascinating back-and-forth game between two (near) lovers, and a fun pastiche of ideas, theories and cultural elements. And individual scenes and moments that do not seem to have much in the central story of doing the film just give his own identity.you can
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Nowadays we have a lot of accustomed and his quick cuts (in action films and video clips) to the order of the day, but still amazes and excites the film still. Characters which are in conversation, and in the next shot is suddenly very elsewhere located in relation to each other, or a collision which you can see only the beginning and the effect. But one of the strangest cuts is probably the crucial murder scene where Michel van approached from behind by a motorcycle cop is when he himself is something out of the car at the address, and himself the next moment just behind the agent seems to stand and shoot him. These are exciting moments that keep the viewer alert him and (sometimes) leave guess the exact circumstances. Interestingly, this "style" was born out of necessity. The film was in fact too long and had to be shortened. But Godard did not waive beloved scenes and story elements and then decided therefore only to remove "excess" transitions within the scenes, with the fleeting, "jazzy" nature of the film as a result. The hip jazz soundtrack is therefore the only choice and the perfect musical complement to the images.
Despite the rapid, sometimes strange cuts the film has not become abstract or incomprehensible. There's just a straightforward story, about two lovers who come to really touch and a (minor) criminal who has a dream to be happy in Rome. And although the story is ultimately subordinated to the style and some story elements - sometimes important, as Patricia's pregnancy or her sudden declaration of Michel to the police - unsatisfactory (or not) are developed, the film has some wonderful scenes with the two main characters sensitive interaction. In particular, the sequence in the bedroom of Patricia has an almost touching and melancholic atmosphere, where you actually get a bond with the characters and hopes that they will be happy in life. Preferably, with each other. Even though the film in terms of content thus indeed better - and need - to convince, "À bout de souffle" certainly has dramatic value addition are generally accepted value as modern art. There is, in short, no reason to let this film pass you. 'À bout de souffle "was, and still a delight to film area.
