A film about an artist in an existential crisis, which mirrors the condition of the filmmaker himself at this time. Richard Brody’s essay on Godard’s film is an informative and enlightening read that acts as strong companion piece. At least it did for me, for I needed a historical context to appreciate the greater subtext of this film. I loved the use of primary colors in this movie and I
might be falling in am in love with 1960s Anna Karina.
This film rendered me speechless. Never have I been more disturbed, entranced and captivated by a movie. I want to rewatch it again and again to uncover the masterful technique involved in creating it, but I’m not sure if I can stomach two of the film’s key scenes. Truly an original piece of cinema.
An experience more than movie. The first and third person POV design of every shot makes for a visual style that is dramatically original and often captivating. Although, too often did the stilted dialogue and detached acting style prevent me from investing emotionally in these characters or the story. Still, there’s no denying Gaspar Noé is a visionary filmmaker. I’m curious to see what the man comes up with next.
Incredibly sincere and nuanced. A personal film with one of the best endings in cinema history. Read this.
After immersing myself in the documentaries of French filmmaker Louis Malle, it felt only fitting to start checking out his narrative work. The crime thriller, “Elevator the Gallows” features a story with a great narrative hook and boasts an incredible soundtrack by Miles Davis. Many of the plot’s more mystery-based elements don’t fully land their mark due to the general sophistication of modern audiences, but there’s more than enough 1950s French style and atmospheric touches to make this film more than worth your time.
I’d be more than happy spending hours watching Anna Karina do just about anything. Luckily, Godard also manages to inject his political satire with a sheer exuberance for filmmaking itself. Read this.
"The Little Soldier" was dismissed by the critics, who were busy doing cartwheels for Truffaut’s "Jules and Jim" and Resnais’ "Hiroshima, Mon Amour." And Godard began a period of four years in which his films, one after another, were criticized for not fulfilling the promise of "Breathless."
But “Breathless” seems a little dated in 1969. We are no longer quite that interested in a facile, flashy editing style; Godard himself has educated us out of that infatuation. A decade later, “Breathless” is a period piece, the “The Maltese Falcon” of the 1950s. And gradually it becomes clearer that, starting with “Le Petit Soldat,” Godard was forging his own individualistic art and becoming the most relevant director of our time.
Film critic Roger Ebert in his four-star review.