What is the significance of Michel rubbing his lips with his thumb?

What does Michel say at the end of the movie?

What is the movie playing in the theater when Michel and Patricia are trying to escape from the detectives?

"If you don't like this film...then you can get stuffed!"

"It's silly, but I love you. I wanted to see you, to see if I'd want to see you."

11 rue Campagne Première, Paris 14, Paris, France

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Jean-Paul Belmondo and Anna Karina in Pierrot le fou (1965)

François Truffaut and Jean-Pierre Léaud in The 400 Blows (1959)

Brigitte Bardot, Fritz Lang, Jack Palance, Giorgia Moll, and Michel Piccoli in Contempt (1963)

Claude Brasseur, Sami Frey, and Anna Karina in Band of Outsiders (1964)

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Eddie Constantine and Anna Karina in Alphaville (1965)

Jean-Paul Belmondo, Jean-Claude Brialy, and Anna Karina in A Woman Is a Woman (1961)

Yves Afonso, Chantal Goya, and Jean-Pierre Léaud in Masculine Feminine (1966)

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Jean-Paul Belmondo and Jean Seberg in Breathless (1960)

Société Nouvelle de Cinématographie (SNC)

Jean-Paul Belmondo

Jean Seberg

Jean-Luc Godard

Claude Chabrol

François Truffaut

A small-time crook, hunted by the authorities for a car theft and the murder of a police officer, attempts to persuade a hip American journalism student to run away with him to Italy.

À bout de souffle

Too cool for (film) school

Together with François Truffaut&apos;s &quot;The 400 Blows&quot; (one of my favorites), Jean-Luc Godard&apos;s &quot;Breathless&quot; is considered the defining, instigating film of the French New Wave. It&apos;s more ironic and detached, less emotionally accessible than &quot;The 400 Blows,&quot; and its technical innovations like jump cuts are perhaps even more surprising. For these reasons, I found &quot;Breathless&quot; easier to admire than to lovethough by the end I grew to enjoy its too-cool- for-(film)-school tone.

Ironically, the pace of this movie isn&apos;t &quot;breathless&quot; at all. It begins abruptly and takes a while to get going: Michel (Jean-Paul Belmondo), a character we barely know, drives a stolen car around, talks at the camera, and shoots a police officer who has tried to pull him over. Then he goes to Paris and tries to borrow money from some friends, while the police-shooting plot goes undeveloped. I only became fully engaged with the introduction of Patricia (Jean Seberg), a young American who sells newspapers on the Champs-Elysees. The relationship between Michel and Patricia is the heart of the film, especially a 25-minute-long scene in Patricia&apos;s apartment where the characters smoke, flirt, and laze around in bed, though nothing really happens. That&apos;s where I really started to admire &quot;Breathless,&quot; because I was so captivated by a scene that, on paper, doesn&apos;t sound all that captivating.

Eventually the police catch onto Michel and launch a manhunt, but this doesn&apos;t really ratchet up the suspense. Instead, Michel is (or at least, Michel acts) aimless and nonchalant about the whole thingthis is not a typical &quot;man on the run&quot; movie. The cool jazz score adds to the hip, laid-back tone.

Since I didn&apos;t care for the movie too much until the scenes between Michel and Patricia, I believe a lot of the credit for the film&apos;s success has to go to the charismatic performances of Belmondo and Seberg. Belmondo, with a perpetual cigarette dangling from the corner of his mouth, is the archetypal cocky criminal who models himself after Humphrey Bogart (there&apos;s a great scene where he sees some Bogart photos and gets a vulnerable look in his eyes, as though saying &quot;I&apos;ll never be as cool as this&quot;). Seberg plays Patricia as a confused girl who is delighted by the attention she gets as an American in France.

It&apos;s easy to see why &quot;Breathless&quot; was so influentialthe jump cuts, the ragged style perfectly match this story about amoral, aimless youth. Definitely a movie that expanded the range of stories the cinema can tell, and perhaps a major precursor to youth-oriented &apos;60s culture. Nearly fifty years later, it still seems &quot;hip,&quot; and still challenges our expectations of how movies should behave.

Bande-annonce [OV]

https://m.media-amazon.com/images/M/MV5BMWUyMTVjMTgtNzI2MS00YThjLTlkZjctZjZiM2NjYjg5ODNjXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg

Together with François Truffaut's "The 400 Blows" (one of my favorites), Jean-Luc Godard's "Breathless" is considered the defining, instigating film of the French New Wave. It's more ironic and detached, less emotionally accessible than "The 400 Blows," and its technical innovations like jump cuts are perhaps even more surprising. For these reasons, I found "Breathless" easier to admire than to lovethough by the end I grew to enjoy its too-cool- for-(film)-school tone.

Ironically, the pace of this movie isn't "breathless" at all. It begins abruptly and takes a while to get going: Michel (Jean-Paul Belmondo), a character we barely know, drives a stolen car around, talks at the camera, and shoots a police officer who has tried to pull him over. Then he goes to Paris and tries to borrow money from some friends, while the police-shooting plot goes undeveloped. I only became fully engaged with the introduction of Patricia (Jean Seberg), a young American who sells newspapers on the Champs-Elysees. The relationship between Michel and Patricia is the heart of the film, especially a 25-minute-long scene in Patricia's apartment where the characters smoke, flirt, and laze around in bed, though nothing really happens. That's where I really started to admire "Breathless," because I was so captivated by a scene that, on paper, doesn't sound all that captivating.

Eventually the police catch onto Michel and launch a manhunt, but this doesn't really ratchet up the suspense. Instead, Michel is (or at least, Michel acts) aimless and nonchalant about the whole thingthis is not a typical "man on the run" movie. The cool jazz score adds to the hip, laid-back tone.

Since I didn't care for the movie too much until the scenes between Michel and Patricia, I believe a lot of the credit for the film's success has to go to the charismatic performances of Belmondo and Seberg. Belmondo, with a perpetual cigarette dangling from the corner of his mouth, is the archetypal cocky criminal who models himself after Humphrey Bogart (there's a great scene where he sees some Bogart photos and gets a vulnerable look in his eyes, as though saying "I'll never be as cool as this"). Seberg plays Patricia as a confused girl who is delighted by the attention she gets as an American in France.

It's easy to see why "Breathless" was so influentialthe jump cuts, the ragged style perfectly match this story about amoral, aimless youth. Definitely a movie that expanded the range of stories the cinema can tell, and perhaps a major precursor to youth-oriented '60s culture. Nearly fifty years later, it still seems "hip," and still challenges our expectations of how movies should behave.

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