A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
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.Written by
One day, Jean-Luc Godard called at 8 in the morning to say he was sick from eating some bad food and couldn't work. He had someone on the crew call producer Georges de Beauregard and tell him. Although according to Coutard, it was not a big deal, since cast and crew totaled only about seven or eight people, Beauregard was furious. A short time later, he went to have a drink and saw Godard sitting at the same café having breakfast. Coutard said they got into a fistfight and reporters from Paris Match had to pull them apart. See more »
During street shots, countless passersby keep on staring into the camera, revealing the shots to be made without appropriate filming barriers and not using extras for pedestrians. See more »
This is the one that started it all kids, the daddy of post-modern cinema. MTV jump cuts, fractured soundtrack and images aplenty
Self reflexive to the point that it not only acknowledges its own existence, it revels in it.
All style and no substance is considered a bad thing today, unless its Tarantino. Well, if it wasn't for Godard, chances are there would be no QT.
All the characters and images, and dialogue and sets are constructed from all aspects of life - Michel is a Bogart collage. Patricia apes everything she sees, from her Interviewee's facial gestures to Michel's own.
Don't let all this technical mumbo fool you, I did my thesis on Godard and would happily bore the ass off you with a lecture in great detail about this film, but the fact is, it's a stormer.
Grips you by the throat and shakes the hell out of you, and it doesn't let go until the final breath.
Fantastically, artistically magnificent. If Godard wanted to make his debut picture to show how well he understood American ideals and the history of cinema, he couldn't have made a better picture.
Top stuff French guy.
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