Credits
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Summary
Michel Poiccard is on the run from the police, having killed a policeman. He chats
up an Amercain student, Patricia, and seeks sancutaury in her Paris apartment. Michel
appears to be in love with Patricia, who remains non-commital. Then Patricia discovers
Michel’s terrible secret...
Review
This is arguably one of the dozen or so most influential films of the twentieth century.
The contrast with everything that went before A bout de souffle is stunning, in
terms of plot structure, content, direction and camera work. This is Jean-Luc Godard
at his most anarchistic, although – ironically – the film begins as what appears to be
a conventional gangster film, albeit in the mould of the New Wave of Godard’s contemporaries,
Truffaut and Chabrol.
Godard embraces new, unconventional techniques to the point – almost – of excess, particularly the use of jump-cuts and long takes. He uses as one of his lead characters an inexperienced actress, Jean Seberg, who speaks throughout in an appallingly broken americanized French. And lengthy philosophical discussions and existentialistic references take precedence over action and drama. But the result is a piece of French cinema that even now appears fresh and exciting – witty and effervescent with some catchy and effective music from Martial Solal. Jean-Paul Belmondo is cast as the luckless petty criminal with an eye for the ladies and an uncanny respect for the police. One of Belmondo’s better performances, the charismatic young actor dominates every scene in which he appears. A bout de souffle is a truly great film – one that breaks all the conventions and leaves its audience – quite literally – breathless. © James Travers 2001
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