Breathless gets much attention for its contributions to film as a medium - and rightfully so. But something missing from the conversation is the film's scathing indictment of toxic masculinity.
Jean-Luc Godard's Breathless follows a criminal (Jean-Paul Belmondo) who - after stealing a car and subsequently killing a police officer - tries to muster enough cash to flee to Rome with his love (Jean Seberg). The film has been praised for deviating from typical narrative conventions - for breaking all the rules. Breathless was shot on-location in Paris, casted unknown actors, was largely improvised, and had little plot - all unprecedented - thus cementing the film as the catalyst for the French New Wave.
Detachment. It's easy to criticize the film for its cold and distant protagonist, but isn't that the point? Michel isn't the suave bad guy; he merely sees himself that way. He admires Bogart and bases his idiosyncrasies on the actor. But it's all a facade. When pursued by the police, he kills an officer out of fear. Michel is scared. Thus, when he chastises Patricia for her alleged cowardice, he is projecting his own insecurities onto her.
"You make me want to puke," Michel tells Patricia at the very end. He loves her so dearly and it's killing him; even after her betrayal, he's completely and utterly lovesick. Michel is a hopeless romantic with a cordial center, but this facade perpetuated by the media has convinced him that's not what women want. He adopts this facade out of fear, but manages to alienate himself from the woman he loves. Even after his death, all Patricia will ever see is the prick.
Breathless is reasonably presented in film schools throughout the world, but maybe for the wrong reasons. It is important to recognize the film's historical significance and contributions to cinema, but the social commentary and subtlety by which it is told is what makes the movie feel more than just homework for aspiring cinephiles. Breathless certainly has a distinct style, but that shouldn't distract from the timeless substance the movie has to offer.
Jean-Luc Godard's Breathless follows a criminal (Jean-Paul Belmondo) who - after stealing a car and subsequently killing a police officer - tries to muster enough cash to flee to Rome with his love (Jean Seberg). The film has been praised for deviating from typical narrative conventions - for breaking all the rules. Breathless was shot on-location in Paris, casted unknown actors, was largely improvised, and had little plot - all unprecedented - thus cementing the film as the catalyst for the French New Wave.
Detachment. It's easy to criticize the film for its cold and distant protagonist, but isn't that the point? Michel isn't the suave bad guy; he merely sees himself that way. He admires Bogart and bases his idiosyncrasies on the actor. But it's all a facade. When pursued by the police, he kills an officer out of fear. Michel is scared. Thus, when he chastises Patricia for her alleged cowardice, he is projecting his own insecurities onto her.
"You make me want to puke," Michel tells Patricia at the very end. He loves her so dearly and it's killing him; even after her betrayal, he's completely and utterly lovesick. Michel is a hopeless romantic with a cordial center, but this facade perpetuated by the media has convinced him that's not what women want. He adopts this facade out of fear, but manages to alienate himself from the woman he loves. Even after his death, all Patricia will ever see is the prick.
Breathless is reasonably presented in film schools throughout the world, but maybe for the wrong reasons. It is important to recognize the film's historical significance and contributions to cinema, but the social commentary and subtlety by which it is told is what makes the movie feel more than just homework for aspiring cinephiles. Breathless certainly has a distinct style, but that shouldn't distract from the timeless substance the movie has to offer.