Breathless 1960 123movies

Watch: À bout de souffle 1960 123movies, Full Movie Online – 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..
Plot: A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he attempts to persuade a girl to run away to Italy with him.
Smart Tags: #fugitive #stolen_car #murder #jump_cut #boyfriend_girlfriend_relationship #paris_france #anti_hero #murder_of_a_police_officer #self_destructiveness #on_the_run #lust #manhunt #journalist #police #sociopath #directorial_debut #reference_to_humphrey_bogart #french_new_wave #nouvelle_vague #love #car

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Ratings:

	7.7/10 Votes: 82,431
	96% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 1478 Popularity: 11.178 | TMDB

Reviews:

To those who “don’t understand”
I don’t blame those who state that they do not “understand” the superlatives surrounding Jean-Luc Godard’s 1960 masterpiece, Breathless. It’s primarily because to appreciate Breathless, one has to view the movie from a historical context, which also requires studying of not only the French New Wave, but film theories as a whole, and the lives of those apart of the New Wave. Breathless accomplished many things unprecedented prior (many completely unprecedented, but some things are not-so-much).

Roger Ebert put it best when he said that just as film fanatics may now stand outside a movie theatre waiting for the next Quentin Tarantino movie to be released, film enthusiasts were doing so for Godard in the 1960s. He was a revolutionary, which is why MovieMaker magazine called him the 4th most influential director of ALL-TIME (only behind Welles, Griffith, and Hitchcock)! What did Godard do different? Breathless is all style, simple as that. The story line is interesting, yes, but is Godard’s aesthetics, production modes, subject matters, and storytelling methods that are key. First of all, the whole movie was shot on a hand-held camera, just like most all New Wave pictures. It was, however, only shot by two people (Godard and his cinematographer, Rouald) on a budget that did not top $50,000, a mere fraction of what most pictures cost at the time (another facet of the New Wave). It was shot completely on location in Paris, and utilized new film-making techniques that would be used by film-making students for decades to come (such as putting the camera in a mail cart on the Champs Elysees and following Belmondo and Seberg). Note Godard’s use of American cinema influence, and how the montage art of the 1950s impacted this aesthetic.

(A brief New Wave lesson: Most New Wave directors were displeased with the “tradition of quality,” or the older generation directors who, as Truffaut put it, made the “twelve or so” pictures per year that represented France at Venice and Cannes. Most of these pictures classic or modern literary adaptations, completely stagnant in artistic quality with rehashed subject matters based on historical periods. New Wave directors supported NEW tales of modern Parisian life, primarily, and were sick of the themes found in the tradition of quality films.) The storytelling methods in Breathless are perhaps the most fascinating part of the film. The jump cuts may seem lame, but one must again view them from a historical context: it had never been done before. This is exactly why Breathless is important — practically every technique was revolutionary. They are so submerged into film-making practices now that Breathless seems typical. Yet at the time, it was, as I said prior, unprecedented.

Revolutionary. Brilliant. Oh so pretty
This Movie, a triumph of the French Nouvelle Vague, marks a turning point, not only for the Director, Jean-Luc Godard, but for anyone who sees it. The plot, though intriguing, is secondary to the incredible presentation. Use of hand-held cameras and jump-cuts (where the director cuts from one angle to a shot of the same angle two seconds later, a stylistic effect that can show freneticism or boredom) were revolutionary at the time, yet can still surprise and delight today.

Jean Seaberg is excellent, with the nicest accent you’ll ever hear, as are the supporting cast, all rounded stereotypes. But the leading man outshines all the others. A virtuoso display from Jean-Paul Belmondo as Michel Poiccard makes the viewer swoon and scorn in equal measures. He doesn’t make it easy for us to empathize with him, yet we still do, and in doing, we feel we have earned something.

Revolutionary. Brilliant. Oh so pretty.

Other Information:

Original Language fr
Runtime 1 hr 30 min (90 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Crime, Drama
Director Jean-Luc Godard
Writer François Truffaut, Jean-Luc Godard, Claude Chabrol
Actors Jean-Paul Belmondo, Jean Seberg, Daniel Boulanger
Country France
Awards Nominated for 1 BAFTA Award5 wins & 4 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.33 : 1
Camera Arriflex Cameras, Eclair Cameflex
Laboratory N/A
Film Length 2,490 m (1960) (before censorship) (Finland), 2,540 m (Yugoslavia)
Negative Format 35 mm
Cinematographic Process Digital Intermediate (4K) (2020 remaster), Dolby Vision, Spherical
Printed Film Format 35 mm