Breathless (Jean-Luc Godard,1960)
This
is a film directed by Jean Luc Godard and it's about Michel Poiccard, a
petty thief who makes money by stealing cars, murders the 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. Eventually, he is betrayed by Patricia and killed by
the police.
Rejects film tradition
Breathless (Jean
Luc-Godard, 1960) uses a series of cuts, mismatches in eye lines, erratic and
random sound design, and an overall rejection of film tradition that all contribute to the confusing spatial relationships in the sequence.
Godard would
like to film it as if the camera had just been discovered and that there were
no rules to cinema. In this film, he didn't obey 180-degree rule.
For example when
Patricia reading a newspaper on the way walking to the bar to call Inspector
Vital, she walks from left to right in the first shot. It then shows her
walking from right to left side of the frame. It is a flagrant violation of conventional
screen direction.
The scene when Patricia walks from left to right in the first shot, then shows her walking from right to left side of the frame for the next shot that rejects the continuity of film tradition.
Retrieved from Breathless ( Jean Luc-Godard, 1960)
Independent and Low Budget
The hallmark of French New Wave was its independent and low budget. The amount of investment in filmmaking is very low as France underwent an economic crisis after World War II. Directors of Breathless (Jean Luc-Godard, 1960) have borrowed their friends' apartment as a shooting location and used them as the cast and crew. The apartment where Michel Poiccard, the protagonist in Breathless (Jean Luc-Godard, 1960), was talking to his girlfriend, Patricia is one of the examples.
The hallmark of French New Wave was its independent and low budget. The amount of investment in filmmaking is very low as France underwent an economic crisis after World War II. Directors of Breathless (Jean Luc-Godard, 1960) have borrowed their friends' apartment as a shooting location and used them as the cast and crew. The apartment where Michel Poiccard, the protagonist in Breathless (Jean Luc-Godard, 1960), was talking to his girlfriend, Patricia is one of the examples.
The apartment borrowed from directors' friends looks very narrow and there are only a few crews.
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Unlike
the previous French films that adopt studio system and in response to a lack of
funding, New Wave films were shot on location rather than in studio. The
setting of Breathless (Jean Luc-Godard, 1960) takes place in Paris, as we can
see views of the streets and landmarks like the Eiffel Tower and Champs
Elysees.
Michel found
Patricia on the shooting location Champs Elysees in early scene.
Retrieved from Breathless (Jean Luc-Godard, 1960)
Direct Sound and Available Lighting
Direct sound and available lighting is also one of its prominent features. French New Wave directors recorded the sound during shooting and did not do any alterations to retain the authentic quality of the films. They use the sounds belonging to the location. To reject the film tradition is also one of the reason as traditionally sound is created in a film. For example, a nearby loud whine of plane interrupted Patricia and Parvulesco's conversation during the press conference.
Direct sound and available lighting is also one of its prominent features. French New Wave directors recorded the sound during shooting and did not do any alterations to retain the authentic quality of the films. They use the sounds belonging to the location. To reject the film tradition is also one of the reason as traditionally sound is created in a film. For example, a nearby loud whine of plane interrupted Patricia and Parvulesco's conversation during the press conference.
The lighting in
French New wave film was not perfect, as the filmmakers did not add any
artificial light in the setting. The character's face sometimes falls into shadow. It is
meant to emphasize the notion of reality. The spare use of lighting equipment
is also due to lack of funding.
For example, in Breathless
(Jean Luc-Godard, 1960), when Patricia sits against a window in her apartment
and lights a cigarette while she’s having a conversation with Michel, the
available natural light only came from the window.
The available exposing light from the back of Patricia during the scene she lights a cigarette while having a conversation with Michel.
Retrieved from Breathless (Jean Luc-Godard, 1960)
Self-reflectivity
constantly reminds the audience that they were watching a film, unlike the
escapist nature of Hollywood films. Audiences normally will be too attracted by
the film, which shows the reality. Reflexive cinema is about films that call attention to themselves as
cinematic constructs. Reflexivity points to its own mask and invites the public
to examine its design and texture. Some techniques have been used to remind
the audiences that they are actually watching a film and to pay attention on their designs.
Close up
The innovations in new wave cinema
included a large use of close ups and a lack of establishing shots.
The filmmakers weren’t as concerned about establishing spatial and contextual
relationships as they were about the mise-en-scene. A viewer was supposed to
feel the setting, not necessarily see it. Besides, Character in the film always
looks and talks to the camera. In the beginning of Breathless (Jean Luc-Godard, 1960) , there is a scene which Michel talks to the camera like he
is talking right to the audiences when he is driving to Paris.
Michel talks to
the camera.“If you don’t like the shore, If you don’t like the mountain”.
Retrieved
from Breathless (Jean-Luc Godard,1960)
New
Wave films used a free editing style where they do not follow the editing
rules, which are value on continuity editing. Godard likes to use jump cut in editing where two shots of a same subject are cut together with an obvious jump within
the screen. The jump cut is when a scene is cut forward in time, whether by a
split second or many seconds. Unlike most of the classical Hollywood films,
French New Wave films tend to break away from the rules of continuity editing
and using free editing style. The editing often drew attention to it by being
discontinuous. For example in Breathless (Jean Luc-Godard, 1960) when
Michel and Patricia were driving around the streets of Paris, there are a lot of
jump cuts being used.
Jump cuts is
used in this car-driving scene at the street of Paris.
Retrieved from Breathless
(Jean Luc-Godard, 1960)
Elliptical Editing
The elliptical editing techniques used in this film is suggest that the audience only see what is important in this film and at the same time, it seems reckless or irresponsible. It seems to indicate the characteristic of Michel in the film. In the scene Michel shoot the traffic cop, after Michael shoots and kills a traffic cop. In the long shot, we see the cop approaching Michel's car. In medium long shot, Michel reaches into the car. Two very brief close-ups pan along Michel's arm and along the gun and the cop then falling into some underbrush.
The elliptical editing techniques used in this film is suggest that the audience only see what is important in this film and at the same time, it seems reckless or irresponsible. It seems to indicate the characteristic of Michel in the film. In the scene Michel shoot the traffic cop, after Michael shoots and kills a traffic cop. In the long shot, we see the cop approaching Michel's car. In medium long shot, Michel reaches into the car. Two very brief close-ups pan along Michel's arm and along the gun and the cop then falling into some underbrush.
Retrieved from Breathless (Jean Luc-Godard, 1960)
Handheld cameras and Long Takes
The new wave filmmakers often used handheld cameras to shoot on location, partly out of practicality and partly out of innovation. The lightweight hand-held cameras available during the1950s allowed for cheap and quick shoots but also gave a less static and structured feel that was more reminiscent of the “cinema du papa.” We can identify the handheld shot because some scenes look very shaky and unstable. Handheld camera also allows the cinematographer to shoot in different angles in a small place like Patricia bedroom in Breathless (Jean Luc-Godard, 1960). They can use it to follow the character walking through the streets, bars, and cafes and also shoot over their shoulder to take their point of view.
Flexibility is very important to Godard as he wanted the freedom to improvise and shoot whatever and wherever without many technical constrains. By using a handheld camera, the tone and feeling are embellished throughout the film by the instability conveyed by Godard.
Long takes is also one of the obvious characteristics of French New Wave films. It’s a shot that does not have a cut editing in between for a long period.
In the last part of Breathless (Jean Luc-Godard, 1960), there is a scene that Michel being chased by the police and finally get shot. Godard prolonged the running scene when Michel run away after got shot. This helps audiences fully feel the exhaustion of the protagonist. The long shot of the scene also indicate and enhance the narrative that he is tired of escaping from his crime life.
The new wave filmmakers often used handheld cameras to shoot on location, partly out of practicality and partly out of innovation. The lightweight hand-held cameras available during the1950s allowed for cheap and quick shoots but also gave a less static and structured feel that was more reminiscent of the “cinema du papa.” We can identify the handheld shot because some scenes look very shaky and unstable. Handheld camera also allows the cinematographer to shoot in different angles in a small place like Patricia bedroom in Breathless (Jean Luc-Godard, 1960). They can use it to follow the character walking through the streets, bars, and cafes and also shoot over their shoulder to take their point of view.
Flexibility is very important to Godard as he wanted the freedom to improvise and shoot whatever and wherever without many technical constrains. By using a handheld camera, the tone and feeling are embellished throughout the film by the instability conveyed by Godard.
Long takes is also one of the obvious characteristics of French New Wave films. It’s a shot that does not have a cut editing in between for a long period.
In the last part of Breathless (Jean Luc-Godard, 1960), there is a scene that Michel being chased by the police and finally get shot. Godard prolonged the running scene when Michel run away after got shot. This helps audiences fully feel the exhaustion of the protagonist. The long shot of the scene also indicate and enhance the narrative that he is tired of escaping from his crime life.
Long takes used to indicate and enhance the narrative during the final scene when Michel run after got shot.
Retrieved from Breathless (Jean Luc-Godard, 1960)
And for example, handheld camera was use to
follow Michel and Patricia when they walking on the streets where Patricia is
selling the New York Herald Tribune on the Champs Elysees. The scene is a bit
shaky.
Long takes using handheld camera during the scene when Michel and Patricia were walking down the street.
Retrieved from Breathless (Jean Luc-Goward, 1960)
Retrieved from Breathless (Jean Luc-Goward, 1960)
Improvised Dialogues
Improvise means create and perform without preparation to create a sense of realism. In opposition to classical filmmaking, directors of the French New Wave did not plan well before shooting and the dialogue was often changed or written the same day it was read. Consequently, the plot might have change several times. The actor’s performance of speech or dialogue pattern in French New Wave films is unique because they are encouraged to improvise their dialogue. Therefore, the dialogue in the film may occasionally seem irrelevant to the storyline.
Improvise means create and perform without preparation to create a sense of realism. In opposition to classical filmmaking, directors of the French New Wave did not plan well before shooting and the dialogue was often changed or written the same day it was read. Consequently, the plot might have change several times. The actor’s performance of speech or dialogue pattern in French New Wave films is unique because they are encouraged to improvise their dialogue. Therefore, the dialogue in the film may occasionally seem irrelevant to the storyline.
One of the examples of improvised dialogues in Breathless (Jean Luc-Godard, 1960) is when Michel and Patricia are having
conversations in the apartment. There are a lot of dialogs that are not related
to the film to show the reality of life unlike the dramatic Hollywood style.
The improvised dialog between characters, Michel and Patricia in their conversations in the apartment.
Retrieved from Breathless (Jean Luc-Godard, 1960)
Strong Woman Role
Women were given strong parts that didn’t conform to archetypal roles seen in Hollywood. American film noir tends to punish the femme fatale for being manipulative at the end of the film but for French New Wave directors, they favor the independent role of femme fatale. The femme fatale role in New Wave film was twisted, they are allowed to make their own decision but do not punish the woman for being manipulative.
Women were given strong parts that didn’t conform to archetypal roles seen in Hollywood. American film noir tends to punish the femme fatale for being manipulative at the end of the film but for French New Wave directors, they favor the independent role of femme fatale. The femme fatale role in New Wave film was twisted, they are allowed to make their own decision but do not punish the woman for being manipulative.
Patricia represents the strong woman role
in Breathless (Jean Luc-Godard, 1960). She’s a modern female who is independent
and active in the film. It is different with the role of classical Hollywood
film where female normally been portrayed as a passive character. As an
American woman who lives in France, Patricia practices her sexual independent.
She chooses to sleep with whomever she wants. She sleeps with Michel even she
only knows him briefly. Patricia count on the numbers of men who she slept with
when Michel and her talking in her bedroom.
Besides that, she is also independent.
She earns money herself by being a journalist. She also sells New York Herald
Tribune on the Champs Elysees.
Patricia is ambitious, she chooses to
interview with the novelist, Parvulesco rather than hanging out with Michel.
She wants to be a Tribune reporter and write a novel. She is also strong and
able to make decision by herself. When she wants to protect Michel as there are
two cops tracking her to find out where Michel is, she drop a hint to Michel
and protect him. On the other hand, she betrays Michel because of her selfish reason.
She reports to the police to maintain her independence and her income.
At the end of the film, Patricia did the
hand gestures that Michel used to do. This shows a sign of her strong woman
role that the filmmakers want to show the audiences.
The hand gesture that Michel used to imitate from Bogart was then show by Patricia at the end of the film to show her strong woman role.
Retrieved from Breathless (Jean Luc-Godard, 1960)
Anti-authoritarian Protagonist
The protagonist in French New Wave films were always marginalized, young anti-heroes, and alienated loners, they live with no family ties, behave spontaneously, and often act immorally. They were frequently seen as anti-authoritarian because of their disobeying of rules, and not goal-oriented thus acting in a very immoral way.
The protagonist in French New Wave films were always marginalized, young anti-heroes, and alienated loners, they live with no family ties, behave spontaneously, and often act immorally. They were frequently seen as anti-authoritarian because of their disobeying of rules, and not goal-oriented thus acting in a very immoral way.
The main character, Michel, is a tribute
to Humphrey Bogart and is seen as anti-authoritarian. He likes sex,
spontaneous, anti-authoritarian and always acts against the rules. He often
shows the attitude that tends to see life aimless. He can drift all the time
while seducing Patricia. The more Patricia doesn’t want him, the more he wants
her. At the beginning of the film we can see that he is masking his face with a
newspaper. This typically criminal behavior shows that he is a morally
ambiguous character who is distancing himself from society.
Michel masking his face with a newspaper indicates his morally ambiguous characteristics.
Retrieved from Breathless ( Jean Luc-Godard, 1960)
Michel is an example of antihero in Breathless (Jean Luc-Godard, 1960). Antihero means a protagonist
who lacks the ennobling qualities of a hero. The hero in Breathless (Jean Luc-Godard, 1960) is very flaw. He’s not a perfect example of a hero. He kills, he steals,
he womanizers, he’s not the typical hero, he’s in fact the opposite of a hero,
hence, he’s an antihero. This film specifically pointing out the antihero to
you, but its depending on the audience whether they will favor it.
Auteurs
Nevertheless, the directors whose films show a consistency in style and theme are called auteurs. The exclusive nature of the auteur theory is that directors who write their own films against those who don’t. It’s the extra measure of control the writer/director exerts over his idea, and it gives him an edge over other directors in the auteur debate. The work of the auteur should grow proficiently and mature in vision with each successive film. Jean-Luc Godard’s films always express his political view as well as a heavy use of self-reflective elements.
Auteurs
Nevertheless, the directors whose films show a consistency in style and theme are called auteurs. The exclusive nature of the auteur theory is that directors who write their own films against those who don’t. It’s the extra measure of control the writer/director exerts over his idea, and it gives him an edge over other directors in the auteur debate. The work of the auteur should grow proficiently and mature in vision with each successive film. Jean-Luc Godard’s films always express his political view as well as a heavy use of self-reflective elements.
For example, there are news about war
broadcasting on the radio in the early scene, Michel go to the apartment visits
an old girlfriend. Yet, the scene that Michel in Patricia's apartment room, the
radio was broadcasting about the Algeria war and Patricia then ask Michel
whether he was in army. This is because Algeria helped France to fight Nazis
in the World War II.
The radio was broadcasting about the Algeria war and Patricia then ask Michel whether he was in the army.
Retrieved from Breathless (Jean Luc-Godard, 1960)
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