A Parisian Masterpiece Reimagined: Linklater’s Homage to Godard’s ‘Breathless’
Richard Linklater, a director renowned for his meticulously crafted cinematic gems like ‘Boyhood,’ ‘Dazed and Confused,’ and the ‘Before’ trilogy, has taken on a daring challenge: dissecting one of French cinema’s most revered cornerstones. His latest offering dives headfirst into the chaotic, exhilarating creation of Jean-Luc Godard’s ‘À Bout de Souffle’ (Breathless), a film that irrevocably reshaped the landscape of filmmaking.
From its opening frames, echoing the vérité style of its subject, the film captures the spirit of rebellion and innovation that defined the French New Wave. We witness Godard, portrayed with uncanny accuracy by Guillaume Marbeck, declaring, “All you need to make a movie is a girl and a gun.” This sentiment perfectly encapsulates the raw, unpolished energy that would come to define ‘Breathless’ and, by extension, this affectionate tribute. The spirit of artistic freedom is palpable, culminating in the iconic moment when his stars, Jean Seberg (Zoey Deutch) and Jean-Paul Belmondo (Aubry Dullin), embrace their newfound agency, deciding they “can say what the f*** we want” – a sentiment that, while later dubbed in the studio, resonated deeply with audiences.
The narrative transports us to 1959, a pivotal era for Godard. At this time, he was a sharp, young film critic for the influential magazine Cahiers du Cinéma. However, his ambition burned brighter than his critical accolades; he yearned to follow in the footsteps of his Cahiers colleagues – François Truffaut, Éric Rohmer, and Claude Chabrol – and forge his own path as a filmmaker. Linklater masterfully opens the film with a screening of Truffaut’s groundbreaking New Wave landmark, ‘The 400 Blows.’ Godard is present, exuding a characteristic blend of nonchalance, arrogance, and an almost palpable desire to prove his own cinematic prowess. His signature sunglasses, a symbol of Parisian cool long before modern-day political figures sported them, obscure his eyes, leaving viewers to speculate about the man behind the myth.
A Cast of Legends and the Birth of an Era
For both seasoned cinephiles and newcomers to the world of film, Linklater thoughtfully provides on-screen introductions for the key players. This comprehensive roll-call, featuring dozens of celebrated and lesser-known figures, serves as an invaluable guide to the vibrant ecosystem of French cinema at the time.
Among these figures is producer Georges “Beau-Beau” Beauregard (Bruno Dreyfürst), a man whose patience is tested to its absolute limit by Godard’s often unconventional and chaotic directorial methods during the production of ‘Breathless.’ Their on-screen dynamic, which even leads to a physical altercation in a café, highlights the intense, often volatile, creative process.
While the film excels in its portrayal of Godard’s self-mythologising persona, whether he was as perpetually aloof and self-assured as Marbeck brilliantly depicts is a question of minor consequence. The very construction of his legendary image is an integral part of the story itself. Godard’s pronouncements, a barrage of aphorisms – some original, like “Disappointments are temporary. Film is forever,” and others borrowed, such as “Art is not a pastime but a priesthood” (a nod to Jean Cocteau) – are delivered with the aplomb of a wunderkind, often eliciting wry amusement from his American star, Seberg.
Capturing the Iconography and the Spirit of Rebellion
Linklater’s approach is a light-touch love letter, focusing on the most iconic moments of a story far richer and more complex. We are treated to the unforgettable scenes of Seberg, embodying the spirit of modern womanhood, selling copies of the New York Herald Tribune on the Champs-Élysées. Cinematographer Raoul Coutard (Matthieu Penchinat) masterfully captures these moments, even concealing himself within a postal cart to maintain the film’s signature documentary-like feel. The climactic shoot-out, featuring Seberg and her on-screen lover Belmondo, is another indelible image brought to life.
Ultimately, however, the film is a profound exploration of Godard’s fabled persona. His guerrilla filmmaking approach, a source of both immense frustration and exhilarating inspiration to those around him, proved to be a potent jolt to the cinematic establishment. It was a method that challenged conventions and injected a much-needed dose of raw energy into the art form. And for those wondering about the reception in France, this homage was met with considerable approval, a testament to Linklater’s understanding and respectful reimagining of a beloved cultural touchstone.
‘Nouvelle Vague’ is scheduled for release in cinemas from January 30.
