BREATHLESS (Godard, 1960)
Criterion Collection, Blu-ray/DVD, Release Date Feb 14, 2014
Review by Christopher S. Long
What makes Jean-Luc Godard's
"Breathless" (1960) one of the three or four most important
sound films ever made? "Breathless" isn't the first French
New Wave film, or even the first French New Wave film to win major
awards; Alain Resnais' "Hiroshima Mon Amour" (159) was
nominated for the Palme d'Or and netted Marguerite Duras an Oscar
nomination for Best Screenplay just the year before. Claude Chabrol
was already an established New Wave figure, even if he didn't quite
know it at the time.
"Breathless" is not the first
film ever to use a jump cut, though it is the first to use the
technique so extensively. "Breathless" was nowhere close to
being the first film to shoot on real locations, and adopted many of
its "fly on the wall" techniques from Italian neo-realism
and direct cinema. "Breathless" hardly employs an original
plot: just a guy, a girl, and a gun. It's not even Godard's best
film. So why in the heck is "Breathless" so
important?
Because "Breathless" changed everything. OK, that's an exaggeration. It didn't change the balance of power in the Middle East. It didn't catapult the Earth out of its orbit. It didn't make Americans care about soccer. But it changed pretty much everything else.
Because "Breathless" changed everything. OK, that's an exaggeration. It didn't change the balance of power in the Middle East. It didn't catapult the Earth out of its orbit. It didn't make Americans care about soccer. But it changed pretty much everything else.
"Breathless” is a unique hybrid, both
the realization of years of critical writings by Godard and his
fellow Cahiers du Cinema critics, and also a film made by an
unabashed cinephile. In a sense, it is one of the earliest "fan
pics" ever made. Godard did not come to destroy Hollywood, he
came to celebrate it in all its genre-determined glory. "Breathless"
contains enough references to other films and filmmakers that even
Quentin Tarantino couldn't keep them all straight. By placing these
cinematic references right alongside the literary and philosophical
ponderings of his young protagonist (however shallow those thoughts
might be) Godard also asserts that film is every bit as valid an art
form as any other. Godard collapsed "high" and "low"
culture before the practice became de rigueur in post-modern
art.
"Breathless" is also a tour-de-force of guerilla film-making. Shot on a modest budget with hand-held cameras specially modified by now-legendary cinematographer Raoul Coutard, many scenes are filmed right on the streets of Paris or in tiny apartments where a standard movie crew for the time could never have fit. The City of Lights has rarely looked so intimate. This fly-on-the-wall approach gives the film the feeling of actuality footage; dialogue written on the day of shooting contributes to the impression of spontaneity. Godard has quite properly described “Breathless” as being primarily a documentary about actors Jean-Paul Belmondo and Jean Seberg.
"Breathless" is also a tour-de-force of guerilla film-making. Shot on a modest budget with hand-held cameras specially modified by now-legendary cinematographer Raoul Coutard, many scenes are filmed right on the streets of Paris or in tiny apartments where a standard movie crew for the time could never have fit. The City of Lights has rarely looked so intimate. This fly-on-the-wall approach gives the film the feeling of actuality footage; dialogue written on the day of shooting contributes to the impression of spontaneity. Godard has quite properly described “Breathless” as being primarily a documentary about actors Jean-Paul Belmondo and Jean Seberg.
Belmondo as Michel
Poiccard. Seberg as Patricia Franchini. Along with Jean-Pierre
Léaud's Antoine Doinel, they are the most iconic characters of the
French New Wave. Belmondo delivers a single-mindedly superficial
performance, full of self-conscious mannerisms, poses, and cool
looks; that bit where he runs his fingers over his lips is still
electric. Seberg was fresh off her critically panned performances for
Otto Preminger in "Saint Joan" (1957) and "Bonjour
Tristesse" (1958). The only good press she received was from the
Cahiers' writers, especially Godard. Though her acting in
"Breathless" hardly dazzles, she was nonetheless an
inspired casting choice. Seberg speaks French with a grating American
accent that no doubt made her seem that much more exotic and erotic
to French audiences, and her cry of "New York Herald Tribune!"
as she promenades down the Champs-Elysées is, in my opinion, the
most memorable line in any French New Wave film. And just about any
film.
Of course, there's also the editing. If you've ever taken a film class, you have already been trained to think "jump cut" at the first mention of "Breathless." The film indeed uses jump cutting extensively, but this was never the plan during shooting. In the editing room, Godard realized that many of the dialogue scenes were boring and overlong, so he simply decided to remove all the uninteresting stuff in the middle of each take, paying no heed whatsoever to Hollywood's sacrosanct rules about continuity. The stitches are meant to show rather than working invisibly to seduce the viewer into the world of the narrative.
And this, all of this and then some more, is why "Breathless" remains so phenomenally influential. While there is no single technique pioneered by Godard in this film, the combination of jump cutting, hand-held shooting, violations of the 180 degree line and a host of other convention-shattering choices set world cinema free. I exaggerate again, but “Breathless” sounded a clarion call to filmmakers young and old, from East and West. All rules are meant be broken, and there is no right way to make a movie. "Death to the aristos!" It also helped that while herding so many sacred rituals of filmmaking to the guillotine Godard also made a wildly entertaining movie.
At this point, I am supposed to write that "Breathless" may seem dated to modern audiences because so much of its style has been copied, and that which once seemed revolutionary now almost appears old-fashioned. But I'm not going to say that. Audiences today might not be shocked by the jump cutting, or awed by the documentary-style filming, but "Breathless" remains as fresh and vital today as when it was released over 50 years ago. "Breathless" is as essential as cinema gets.
Of course, there's also the editing. If you've ever taken a film class, you have already been trained to think "jump cut" at the first mention of "Breathless." The film indeed uses jump cutting extensively, but this was never the plan during shooting. In the editing room, Godard realized that many of the dialogue scenes were boring and overlong, so he simply decided to remove all the uninteresting stuff in the middle of each take, paying no heed whatsoever to Hollywood's sacrosanct rules about continuity. The stitches are meant to show rather than working invisibly to seduce the viewer into the world of the narrative.
And this, all of this and then some more, is why "Breathless" remains so phenomenally influential. While there is no single technique pioneered by Godard in this film, the combination of jump cutting, hand-held shooting, violations of the 180 degree line and a host of other convention-shattering choices set world cinema free. I exaggerate again, but “Breathless” sounded a clarion call to filmmakers young and old, from East and West. All rules are meant be broken, and there is no right way to make a movie. "Death to the aristos!" It also helped that while herding so many sacred rituals of filmmaking to the guillotine Godard also made a wildly entertaining movie.
At this point, I am supposed to write that "Breathless" may seem dated to modern audiences because so much of its style has been copied, and that which once seemed revolutionary now almost appears old-fashioned. But I'm not going to say that. Audiences today might not be shocked by the jump cutting, or awed by the documentary-style filming, but "Breathless" remains as fresh and vital today as when it was released over 50 years ago. "Breathless" is as essential as cinema gets.
Also, there's a plot, and it's a pretty
nifty one about love and betrayal and misunderstanding and fate. I'm
not saying it doesn't matter, just that you shouldn't let it distract
you from all the good stuff.
Video:
The film is presented in its original
1.33:1 aspect ratio.
Criterion released “Breathless” on
DVD in 2007 and on Blu-ray in 2010. This 2014 dual-release format
combines both of those releases in the same package: 2 DVDs (one with
the film and some extras, the other with the rest of the extras) and
one Blu-ray disc. They offer the same transfers as before.
The SD was already a very strong
transfer and the 1080p upgrade was/is even better, of course. The
film is supposed to look a little rough around the edges at times, so
you shouldn't expect a flawlessly smooth and shiny image. The image
detail is superb throughout with a very satisfying grainy look
present throughout.
Audio:
Audio:
The LPCM mono track isn't intended to
sound too dynamic. The sound is always crisp and clean with the
wonderful score by Martial Solal shining through in lossless audio.
Optional English subtitles support the French audio.
Extras:
Extras:
All of the extras have been imported
from previous releases.
We get archival interviews with Godard
(May 19, 1960 and May19, 1964), Belmondo (1961), Seberg (July 2,
1960) and director Jean-Pierre Melville (July 13, 1963). They run
just under a half hour in total.
"Chambre 12, Hotel du Suede" is a 1993 documentary (78 min.) directed by Claude Ventura in which the director revisits the people and places from "Breathless." It's a bit self-conscious, occasionally irritating, but very enjoyable for any fan of the film.
"Charlotte et Son Jules" (1959, 12 min) is a short film directed by Godard and co-starring Belmondo. The whole movie is basically a long-winded speech by a pompous ass trying to show off for his girlfriend and leading to a very funny punch line. Not a masterwork, but a cute movie, a reminder of how playful Godard was at the time.
"Breathless as Criticism" (11 min) is a video essay written by Jonathan Rosenbaum which explains some of the cinematic references Godard makes in the film, and connects Godard's critical writings to his work as a director on "Breathless."
"Coutard and Rissient" (22 min.) is a 2007 interview with "Breathless" cinematographer Raoul Coutard (who worked on many films for Godard) and cinema's great mystery man Pierre Rissient who also worked as assistant director on the film.
"Jean Seberg" (19 min) is a video essay by Mark Rappaport who directed the 1995 film "From the Journals of Jean Seberg." The essay examines the career and the memorable face of the actress who died far too young in 1979.
The collection finishes off with an interview (10 min.) with famed documentarian D.A. Pennebaker (who collaborated with Godard on the film "One A.M" which eventually became "One P.M.")
"Chambre 12, Hotel du Suede" is a 1993 documentary (78 min.) directed by Claude Ventura in which the director revisits the people and places from "Breathless." It's a bit self-conscious, occasionally irritating, but very enjoyable for any fan of the film.
"Charlotte et Son Jules" (1959, 12 min) is a short film directed by Godard and co-starring Belmondo. The whole movie is basically a long-winded speech by a pompous ass trying to show off for his girlfriend and leading to a very funny punch line. Not a masterwork, but a cute movie, a reminder of how playful Godard was at the time.
"Breathless as Criticism" (11 min) is a video essay written by Jonathan Rosenbaum which explains some of the cinematic references Godard makes in the film, and connects Godard's critical writings to his work as a director on "Breathless."
"Coutard and Rissient" (22 min.) is a 2007 interview with "Breathless" cinematographer Raoul Coutard (who worked on many films for Godard) and cinema's great mystery man Pierre Rissient who also worked as assistant director on the film.
"Jean Seberg" (19 min) is a video essay by Mark Rappaport who directed the 1995 film "From the Journals of Jean Seberg." The essay examines the career and the memorable face of the actress who died far too young in 1979.
The collection finishes off with an interview (10 min.) with famed documentarian D.A. Pennebaker (who collaborated with Godard on the film "One A.M" which eventually became "One P.M.")
The disc also includes a Theatrical
trailer.
The chunky insert booklet (80 pgs) features an essay by Dudley Andrew, several interviews and articles by Godard, François Truffaut's original (and very brief) treatment for "Breathless," and Godard's adapted scenario.
All that's missing is a commentary track. Phenomenal.
Final Thoughts:
The chunky insert booklet (80 pgs) features an essay by Dudley Andrew, several interviews and articles by Godard, François Truffaut's original (and very brief) treatment for "Breathless," and Godard's adapted scenario.
All that's missing is a commentary track. Phenomenal.
Final Thoughts:
People, it's “Breathless.” That's
all you need to know.
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