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Gladys Hamilton (Seattle) i was told that I can migos Breathless free download, but I did not believe, especially the year 1960 New York. Michael Whitehead (Lexington) Jean-Luc Godard Breathless free download Bluray at high speed, and even in the France Cambridge.
Crime, Drama, Romance
IMDB rating:
Jean-Luc Godard
Liliane Robin as Minouche
Claude Mansard as Claudius Mansard
Liliane Dreyfus as Liliane aka 'Minouche' (as Liliane David)
Daniel Boulanger as Police Inspector Vital
Jean Seberg as Patricia Franchini
Jean-Paul Belmondo as Michel Poiccard
Henri-Jacques Huet as Antonio Berrutti
Storyline: Michel Poiccard, an irresponsible sociopath and small-time thief, steals a car and impulsively murders the motorcycle policeman who pursues him. Now wanted by the authorities, he renews his relationship with Patricia Franchini, a hip American girl studying journalism at the Sorbonne, whom he had met in Nice a few weeks earlier. Before leaving Paris, he plans to collect a debt from an underworld acquaintance and expects her to accompany him on his planned getaway to Italy. Even with his face in the local papers and media, Poiccard seems oblivious to the dragnet that is slowly closing around him as he recklessly pursues his love of American movies and libidinous interest in the beautiful American.
Type Resolution File Size Codec Bitrate Format
DVD-rip 464x352 px 700 Mb mpeg4 1134 Kbps avi Download
God-ard cinema.
When I first saw this film, I thought, "So What?' The reason for that reaction was because it was the mid 1980's and all that Godard had to offer was already being used in the MTV video clips, flashy television commercials and other wanna-be Godardian filmmakers. It wasn't until after I saw Tarantino's Reservoir Dogs and Pulp Fiction did I decided to revisit Breathless, and glad that I did. To me, this is where it all started from. Godard was hipper than hip. He brought together the then modern culture infused with the classic Hollywood detective genre of the 40s and 50s. He mixed it all up, gave it a shake and came up with this landmark movie.
Godard's classic
I must admit that the first half of the movie was pretty hard on me. I had trouble staying awake. Not that it wasn't good, but god some scenes were moving so slowly! The second half was more easy on me.

Nonetheless, this is a great movie. The cinematography is fantastic. It makes you want to move to Paris! And what can I say about Belmondo? He's simply «à couper le souffle» in his role.

Out of 100, I gave it 82.
Too cool for (film) school
Together with François Truffaut's "The 400 Blows" (one of my favorites), Jean-Luc Godard's "Breathless" is considered the defining, instigating film of the French New Wave. It's more ironic and detached, less emotionally accessible than "The 400 Blows," and its technical innovations like jump cuts are perhaps even more surprising. For these reasons, I found "Breathless" easier to admire than to love—though by the end I grew to enjoy its too-cool- for-(film)-school tone.

Ironically, the pace of this movie isn't "breathless" at all. It begins abruptly and takes a while to get going: Michel (Jean-Paul Belmondo), a character we barely know, drives a stolen car around, talks at the camera, and shoots a police officer who has tried to pull him over. Then he goes to Paris and tries to borrow money from some friends, while the police-shooting plot goes undeveloped. I only became fully engaged with the introduction of Patricia (Jean Seberg), a young American who sells newspapers on the Champs-Elysees. The relationship between Michel and Patricia is the heart of the film, especially a 25-minute-long scene in Patricia's apartment where the characters smoke, flirt, and laze around in bed, though nothing really happens. That's where I really started to admire "Breathless," because I was so captivated by a scene that, on paper, doesn't sound all that captivating.

Eventually the police catch onto Michel and launch a manhunt, but this doesn't really ratchet up the suspense. Instead, Michel is (or at least, Michel acts) aimless and nonchalant about the whole thing—this is not a typical "man on the run" movie. The cool jazz score adds to the hip, laid-back tone.

Since I didn't care for the movie too much until the scenes between Michel and Patricia, I believe a lot of the credit for the film's success has to go to the charismatic performances of Belmondo and Seberg. Belmondo, with a perpetual cigarette dangling from the corner of his mouth, is the archetypal cocky criminal who models himself after Humphrey Bogart (there's a great scene where he sees some Bogart photos and gets a vulnerable look in his eyes, as though saying "I'll never be as cool as this"). Seberg plays Patricia as a confused girl who is delighted by the attention she gets as an American in France.

It's easy to see why "Breathless" was so influential—the jump cuts, the ragged style perfectly match this story about amoral, aimless youth. Definitely a movie that expanded the range of stories the cinema can tell, and perhaps a major precursor to youth-oriented '60s culture. Nearly fifty years later, it still seems "hip," and still challenges our expectations of how movies should behave.
Freshness,relish,recklessness,deeply incised characters,maybe the first postmodern movie
Between '60 and '69,Belmondo made his finest roles:Michel Poiccard (in À bout De Soufflé),Gabriel Fouquet (in Un Singe En Hiver),Adrien Dufourquet (in L'Homme De Rio),Louis Mahé (in La Sirène Du Mississipi).(To be fair,one must admit that Delon also had his era:he was casted by Luchino Visconti and Michelangelo Antonioni;by René Clément,Jean-Pierre Melville.)Belmondo and Delon used the '60s in very different ways.During this ten years,Belmondo managed to show how great an actor he is (while Delon almost managed to hide how average an actor he is,to hide his narrowness).I have seen Belmondo teamed with Gabin,teamed with Mrs. Deneuve:he stands out.One of the best actors working in the French cinema in the '60s.He kept his hand in.

The substance of the lives of Belmondo and Jean Seberg may be an object of Godard's caustic satire,but it is also an aesthetic ideal, and the movie is very involved in the aesthetics of life.Irony or aesthetic ideal of life?Certainly both.Is this way of life mythologized?Again,its status is very ambiguous,and the whole movie is conceived as a system of mirrors.It works as a pump of unreality.Failure,mettle,misdemeanors,a mischief-maker rogue, affectation,the ordinary cruelty,a form of extremism;Godard's attitude is a purely aesthetic and playful one,he has no lesson to teach.The 2 characters' ineptitude and insanity are depicted as such. Still,the movie is not an anecdote,but has many features of,as I said,an "aesthetic ideal" of life. Belmondo and Jean Seberg are tackling a form of sadism that will finally crack one of them. He is a disabused bum,but she is a false ingénue,an irresponsible girl inebriated with "dangerously living",the substance of all nihilism.Belmondo has already rolled the dices;he is a murderer,a deranged outlaw. Jean Seberg's amorality is also turning into hideousness,so that the two fail side by side.

"A bout ..." proves that,even if he was not a great director,Godard was an intelligent,inventive and playful one. After all,this is a movie about cinema,not about life.Its freshness and freedom make it one of the most sympathetic French shows.It is so funny and unconventional,so nuanced and intelligent,so veined and powerful,so robust and enjoyable.The youngish Belmondo is an apotheosis of the cool,and here really at his most cool,and with a easiness that belongs to the most endowed only;his most cool,not in spoofing the American look,but in his exploits and getting out of ruck."Poiccard" is the bum himself,the quintessence of the rogue.

A word about "À bout De Soufflé"'s remake:the Gere film (Breathless (1983),directed by Jim McBride) is made within a very different set of parameters,an low-brow adventure movie,and practically unrelated to Godard's movie;it offers perhaps Gere's best role,and it is a very good movie.
Acquired taste, maybe.
I've generally found Truffaut's films more easily accessible. After having seen "The 400 Blows," "The Woman Next Door" (I believe is the translation) and "Tirez sur le Pianiste" I have to say that Truffaut's films are more interesting (in general). There's no doubt Godard was a huge influence with the French New Wave that stormed America in the '60s but as one other reviewer notes, it's an acquired taste. Personally I feel some of the '60s French cinema is just a bit too cold and experimental to really find fascinating -- one of the reasons Truffaut's films work so well is that they find a good human balance to rely on. (Tirez sur le Pianiste - Shoot the Pianist - is a brilliant satire of '30s/'40s/'50s gangster movies with interesting characters.)

"A bout de soufflé" (a.k.a. "Breathless") is an essential film to view if you are a film buff and French cinema enthusiasts will adore it, however I can't help but think of it as a piece of history rather than a motion picture that has stood the test of time. I'm tempted to say it's just not entertaining enough although that might sound dense.

In short it just doesn't hold up as well to some of the "killers on the run"-style stories that have been made recently (and no, I was not a fan of "True Romance").

Still, some good performances and its famous stature in film history guarantees this is a "must-see," even if you feel a bit disappointed after seeing it.
To those who "don't understand"
I don't blame those who state that they do not "understand" the superlatives surrounding Jean-Luc Godard's 1960 masterpiece, Breathless. It's primarily because to appreciate Breathless, one has to view the movie from a historical context, which also requires studying of not only the French New Wave, but film theories as a whole, and the lives of those apart of the New Wave. Breathless accomplished many things unprecedented prior (many completely unprecedented, but some things are not-so-much).

Roger Ebert put it best when he said that just as film fanatics may now stand outside a movie theatre waiting for the next Quentin Tarantino movie to be released, film enthusiasts were doing so for Godard in the 1960s. He was a revolutionary, which is why MovieMaker magazine called him the 4th most influential director of ALL-TIME (only behind Welles, Griffith, and Hitchcock)! What did Godard do different? Breathless is all style, simple as that. The story line is interesting, yes, but is Godard's aesthetics, production modes, subject matters, and storytelling methods that are key. First of all, the whole movie was shot on a hand-held camera, just like most all New Wave pictures. It was, however, only shot by two people (Godard and his cinematographer, Rouald) on a budget that did not top $50,000, a mere fraction of what most pictures cost at the time (another facet of the New Wave). It was shot completely on location in Paris, and utilized new film-making techniques that would be used by film-making students for decades to come (such as putting the camera in a mail cart on the Champs Elysees and following Belmondo and Seberg). Note Godard's use of American cinema influence, and how the montage art of the 1950s impacted this aesthetic.

(A brief New Wave lesson: Most New Wave directors were displeased with the "tradition of quality," or the older generation directors who, as Truffaut put it, made the "twelve or so" pictures per year that represented France at Venice and Cannes. Most of these pictures classic or modern literary adaptations, completely stagnant in artistic quality with rehashed subject matters based on historical periods. New Wave directors supported NEW tales of modern Parisian life, primarily, and were sick of the themes found in the tradition of quality films.) The storytelling methods in Breathless are perhaps the most fascinating part of the film. The jump cuts may seem lame, but one must again view them from a historical context: it had never been done before. This is exactly why Breathless is important -- practically every technique was revolutionary. They are so submerged into film-making practices now that Breathless seems typical. Yet at the time, it was, as I said prior, unprecedented.
Such a Fun Little Movie!
A young car thief (Jean-Paul Belmondo) kills a policeman and tries to persuade a young woman (Jean Seberg) to hide in Italy with him.

This film is beautifully shot, edgy, real and spontaneous. The style of having the script evolve as the film went along was a brave move in its day, and that it turned out so well deserves recognition. Godard said the success of Breathless was a mistake. He added "there used to be just one way. There was one way you could do things. There were people who protected it like a copyright, a secret cult only for the initiated. That's why I don't regret making Breathless and blowing that all apart."

I am also glad that Jean Seberg stars, because this has to be her greatest role. Before she became a target of the FBI and died prematurely, she had a lot of potential and could have gone down as one of the greats -- and among her great roles, this is the greatest.
What is there to say about Breathless, a movie that has started so many clichés? Not much, other than you owe it to yourself to see it. It is the type of movie that if released right now it would still sell will, despite subtitles and being black and white, something most audiences would hate.

This movie isn't about depth, but the exhilarating race through Paris, and the flashy dialogue. It is a movie that will keep you in, with it's jump edits, that fit right in, despite it looking like the disc messed up. Belmundo is a low life who accidentally kills a cop and runs away, catching up with a American girl while trying to leave to Italy.

It is one of those movies that you can't pull yourself away from, and when it is over you want more.
I was filled with anxiety before beginning Breathless. As someone who is firmly entrenched in the Truffaut camp, #TruffautisLife after all, I was terrified that I would see what is often regarded as the director with whom Truffaut shared an open and intense parting of ways with and see the masterpiece I've always been told it was. Obviously, I know that appreciating a Godard film will do nothing to diminish my love for all things Truffaut, I'm just a loyalist and was worried how I'd feel enjoying a Godard film. Little did I know, I had nothing to worry about. I actively disliked Breathless, I may have even hated it. Jean-Luc Godard's 1960 film was important, I suppose, to the burgeoning French New Wave. I'm sure to subject myself to more Godard films in the future as my journey through cinema goes on, but Breathless did not live up to its reputation, for me.

This is where the plot would go if there was one.

Just kidding, sort of, there are happenings in Breathless but it is clear that there were not many rehearsals with a script taking place. I've read that Godard was rewriting the script each day, removing nearly all of the influence of Truffaut, who had given the film's story to Godard. Godard would then feed the lines to the actors from offset resulting in very little familiarity between the words of the script and the actors speaking them. Michel Poiccard (Jean-Paul Belmondo) a self-absorbed narcissistic sociopath, surely modeled after Jean-Luc Godard, steals a car then murders the police officer who chases after him. Needing a distraction and a place to hide out, Michel renews his relationship with Patricia Franchini (Jean Seberg) an American in Paris studying journalism whom he met a few weeks prior. Despite their relationship being new and unestablished, Michel expects Patricia to accompany him on his getaway to Italy. Like a true narcissist, Michel is oblivious to the fact that his face is in all the papers and the police are closing in on him as he goes about his way collecting his money and planning his getaway. Focusing his attention on the American films that interest him and his American love interest, Michel ignores the fact that his very life is at stake.

During the opening minutes of the film, Jean-Paul Belmondo breaks the fourth wall by looking at and speaking directly to the camera which is a device that almost always works for me. I thought that meant that I may be in for something good, but almost immediately after this scene ended, I nearly ran out of things to enjoy. The jump cuts were amazing and served the story well. I don't give Godard credit for inventing those cuts, as many do, however. An idol, Sergei Eisenstein used jump cuts in film--most memorably in depicting an explosion in The Battleship Potemkin. Georges Melies, whose work I have memorialized on my body also used jump cuts through most of his career in silent cinema. Despite the fact that Godard often gets credit for inventing the jump cut which he surely did not, I can't argue the fact that he used the technique effectively cementing certain aspects of The French New Wave. The music was phenomenal, so kudos to Godard for that. From his first film, however, one can see my biggest criticism of Godard. Godard has no problem excluding his audience. Just listening to Godard speak in interviews, it's clear to discern that he only expects the highest brow of intellectuals to enjoy his films. If an audience member doesn't fit into that category, he doesn't really care. He created terribly unlikeable characters engaging in a plot and a romance that no one could possibly care about, all the while carrying on pseudo-intellectual conversations grating on the last bit of patience I could muster. Obviously, Breathless works for almost everyone except me, but after seeing his debut feature, there's not much encouraging me to try more Godard films.
Ten out of Ten
A Boute de Soufflé aka Breathless was one of the first foreign films I watched after I decided to watch films 'properly', back in 2003/4. A friend back then found it a bit ridiculous, even amateurish. I liked it then and parts lodged in my brain and I ached to see it again and prove my friend wrong.

As part of the Jean Luc Goddard collection, it whistled through its 90 minutes runtime in what seemed like half that – its freshness and that 'amateurishness' that my friend had harped on about was then, a new approach to filmmaking – cut editing, which adds dynamism and vigour.

The absolutely audacious lead crosses Bonnie & Clyde with Malcolm Mc Dowell in A Clockwork Orange – I can only see Mr Mc D being any sort of alternative actor that could have pulled it off.

As the flash harry Michel, Jean-Paul Belmondo is utterly superb and convincing. Jean Seberg as his American, flight attendant date that he sets out to impress. I read a reviewer (amateur) who moaned that the hotel bedroom scene was boring and wishy-washy where nothing happened. But that's the point and beauty of it and makes it the best part. Anyone who's spent aimless afternoons in the semi AND intimate company of a potential or actual lover, just knows that inane and meaningless chatter that goes on and that being was so brilliantly written and naturally acted.

He just occasionally says 'get your top off' whilst she organises his life, her life and everyone's life around him – he just lies in bed smoking – she goes about and does 'things', possibly useful, or otherwise.....

The gritty underbelly of the world's most Romantic city with petty crime and petty characters and the audacious thriller scenes remind of the original British Scarface (set in Brighton) and of course, the French heist movies of this time, pioneered by such as Bob de Flambeur from Jean Pierre Melville (who actually has a small part in this). Back then, fifty years ago and so singularly French (& since much replicated by/in Hollywood).

All in all, an absolute cutting-edged, scathingly scorching social thriller of refreshing naturalness. I can see a Scorsese-ness coming out of those brooding, angry and powerful scenes and characters.

Think you've seen all the best and most influential films? Not without this one, you haven't!
See Also
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USA ‘2018
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