Breathless (1960)
Jean-Luc Godard's Breathless is a seminal work of cinema that heralded the French New Wave (La Nouvelle Vague), a movement that revolutionized filmmaking in the late 1950s and 1960s. Released in 1960, the film is known for its innovative techniques, improvisational style, and rebellious spirit. Breathless tells the story of Michel Poiccard (Jean-Paul Belmondo), a petty criminal on the run after killing a policeman, and his complicated relationship with Patricia Franchini (Jean Seberg), an American journalism student in Paris. The film's exploration of existential themes, combined with its stylistic innovations, has made it a landmark in film history.
Michel Poiccard is a young, charismatic car thief who models himself on the tough-guy persona of Hollywood film noir protagonists, particularly Humphrey Bogart. After stealing a car in Marseilles, Michel impulsively shoots and kills a police officer who is pursuing him. Fleeing to Paris, he seeks out Patricia Franchini, an aspiring journalist who sells the New York Herald Tribune on the Champs-Élysées. Michel tries to persuade Patricia to join him in escaping to Italy.
As Michel evades the authorities, he and Patricia have a tumultuous relationship filled with philosophical discussions, flirtations, and existential musings. Uncertain about her feelings for Michel, Patricia grapples with her own desires and identity. Despite learning of Michel's criminal activities, she is drawn to his carefree attitude and enigmatic charm.
The narrative builds as the police close in on Michel. In a pivotal moment, Patricia betrays Michel by informing the police of his whereabouts, perhaps as a means of asserting control over her life. The film culminates in a tragic finale, in which Michel is shot by the police after a chase through the streets of Paris. As he lies dying, a cryptic exchange takes place between Michel and Patricia, leaving them - and the audience - to ponder the meaning of his last words.
Breathless delves into existential themes, reflecting the characters' search for meaning in a seemingly indifferent world. Michel embodies existential freedom, living from moment to moment without concern for societal norms or consequences. Patricia's introspection and uncertainty underscore feelings of alienation and the struggle to define oneself. The characters' dialogue often touches on life, death, and the nature of existence, reflecting the existentialist philosophy prevalent in postwar France.
The film portrays a rebellion against traditional social structures and cinematic conventions. Michel's disregard for laws and authority represents a rejection of established norms. Similarly, Patricia challenges the expectations placed on her as a young woman and explores her independence and sexuality. The characters' actions and attitudes reflect a broader questioning of conformity, which was prevalent among the youth of the time.
Breathless examines the fascination with, and ambivalence toward, American culture in postwar France. Michel's emulation of Hollywood icons, such as Humphrey Bogart, signifies both admiration and criticism of American ideals. Patricia, as an American in Paris, embodies this cultural intersection, navigating her identity between two worlds. The film explores the effects of cultural imperialism and the complexities of globalization.
Godard blurs the lines between reality and cinema, often calling attention to film as a constructed medium. By breaking the fourth wall and employing self-referential techniques, the film invites viewers to question the nature of storytelling and perception. This meta-cinematic approach highlights the illusory aspects of both life and film.
Breathless is famous for its use of jump cuts, a technique in which successive shots have abrupt transitions, creating a jarring effect. This departure from classic continuity editing disrupts the narrative flow, adding a sense of immediacy and disorientation. The jump cuts reflect Michel's restless nature, as well as the spontaneity of the characters' lives.
Raoul Coutard's cinematography employs a handheld camera, which allows for greater mobility and naturalism. This technique contributes to the documentary feel of the film, capturing the vibrancy of the Parisian streets and lending authenticity to the scenes. The fluid camera movement also adds to the intimate, improvisational feel of the film.
At times, characters look directly into the camera, acknowledging the presence of the audience. This self-reflexive device challenges traditional narrative boundaries and engages the viewer in a dialogue about the nature of cinema. It serves to remind the audience of the constructed reality of film, and encourages active participation in the interpretation of the story.
Godard favored natural lighting and filming on real locations, rather than studio sets. This approach contributes to the film's realism and immediacy. The bustling streets of Paris become a dynamic backdrop, enriching the visual texture and grounding the narrative in a tangible environment.
Much of the dialogue in Breathless was improvised, contributing to the film's spontaneous and authentic feel. The non-linear storytelling, with its digressions and focus on character interactions rather than plot progression, reflects the inner states of the characters and the film's existential themes.
Michel Poiccard (Jean-Paul Belmondo) is a complex anti-hero who embodies charm, recklessness, and existential angst. His imitation of Hollywood gangsters reflects his desire for identity and meaning. Michel's detachment from societal rules and his impulsive actions highlight his internal conflict and search for meaning. Despite his criminal behavior, his vulnerability and charisma elicit empathy from the audience.
Patricia Franchini (Jean Seberg) is an independent and introspective character, navigating her own desires and emotions. As an American in Paris, she symbolizes the dynamics of cross-cultural relationships and the quest for self-discovery. Her relationship with Michel is characterized by ambiguity, as she is simultaneously drawn to and repelled by him. Patricia's ultimate decision to betray Michel represents her assertion of autonomy and the complexities of love and loyalty.
Breathless has had a profound impact on filmmaking, both in France and internationally. As a cornerstone of the French New Wave, it challenged conventional cinematic techniques and narrative structures. The film's stylistic innovations inspired a generation of filmmakers, including Martin Scorsese, Quentin Tarantino, and Wim Wenders.
Its use of jump cuts and handheld cameras became influential in redefining the language of film. Breathless demonstrated that low-budget independent films could achieve critical and commercial success, paving the way for future movements in independent cinema.
Thematically, the film captured the zeitgeist of a generation that was questioning traditional values and exploring new forms of expression. Its portrayal of disillusioned youth and existential themes resonated with audiences around the world.
Jean-Luc Godard's Breathless remains a groundbreaking work that continues to inspire and challenge audiences. Through its innovative cinematic techniques, complex characters, and exploration of existential themes, the film transcends its time to offer a timeless reflection on identity, freedom, and the human condition. Breathless is not only a landmark in the history of cinema, but also a compelling artistic expression that invites viewers to contemplate the possibilities of storytelling and the nature of modern life.
