Breathless (1960)

I've made a point to watch the most important movies ever made. Not just Hollywood product, but the great directors of International cinema. To me it was more than merely entertainment. I study film. I do so for my own edification, not to find a job or impress people. Watching Bunuel or Bergman helps me appreciate all forms of filmmaking. Even low budget horror movies.

I haven't watched the entire oeuvre of most of the masters, but I have seen the milestones. Unfortunately I've barely scratched the surface of the work of Jean-Luc Godard.

I saw Hail Mary when it was at its height of controversy. Which was ridiculous. Christians were outraged about the film's reputation, but most didn't bother to watch it. If they had they would probably had been bored to death.

Godard's most famous movie also his debut: Breathless. This film popularized the French New Wave and it was hailed as the most revolutionary and influential movie since Citizen Kane.

I would surely have watched Breathless during my foreign film phase in the nineties, but it wasn't easy to see. I never once saw the tape for rent in any of the stores I frequented. I suppose it's good I waited. I hear the old VHS copies were mostly poor transfers. When I recently found the Criterion Blu-ray for a great price, I jumped on the deal.

Now I can, at last, say I watched Breathless.

It's difficult today to imagine how startling Breathless was in the early sixties. Now film fans have seen delirious camerawork and unconventional film structure in movies by Wim Wenders, the Coen Brothers, Scorcese and many others. Back then this was nothing short of a revelation.

Breathless is both an homage and an attempt to subvert the classic film noir stereotypes. The plot is simple. A French criminal steals a car, kills a policeman, and meanders around with an American girl. There's lots of dialogue and stylistic camera shots. The slang seems quaint today, but back then it was bracingly fresh. There is a lot of casual talk about sex, which was probably shocking.

The lead is played by Jean-Paul Belmondo, who is apparently the epitome of aloof coolness. He's cool, if you think a devil-may-care attitude, endless closeups of smoking, a petulant attitude about everything, and sociopathic disregard for other people is cool. I found him to be vaguely repulsive and I couldn't wait to see the cops nail him.

Romantic interest Jean Sebring is much more likable. She displays a charismatic innocence that counterbalances Belmondo's callous demeanor.

Breathless gets a lot of credit for revolutionizing cinema, but I think Orson Welle's film of The Trial from the following year is more daring and experimental. I think it should have the reputation Breathless has.

I liked Breathless a lot, but I can't call it a favorite. It's beautifully made and obviously done so without a lot of money. Godard certainly didn't have the budget of Hitchcock's North By Northwest. It's a critical title in the evolution of film and I'm glad I finally watched it. But it's not one I can see myself going back to again and again.

I am interested in seeing more Godard. Weekend has always looked fascinating to me. I'll keep my eyes out for deals on his other movies.

Before you think I've gotten too arty, I keep a journal of all the movies I watch and books I read. I give each a 1-10 rating. Breathless gets the exact same score as Eli Roth's Thanksgiving: 9. Stuffy film school profs would want my head on a platter.

Written by Mark Sieber