New wave – Richard Linklater folds the knee with Breathless and Jean -Luc Godard | Movie
BWithout redesign, without death … and useless? Here is the drama of the period of impeccably submissive film buff by Richard Linklater about the realization of the classic beginnings of Godard 1960 out of breath, which featured Jean Seberg and Jean-Paul Belmondo as starry in Paris. Linklater’s tribute has credits in French and is beautifully shot in monochrome, as opposed to the boring old color of real life in which events really occurred; It even makes cute marks of landmarks in the corner of the screen, these things that once said to projectionists when changing the coils. But Linklater gently avoids any disturbing jumping cut.
It is a good nature and intelligent effort for which Godard himself, if he was still alive, would undoubtedly have torn Linklater a new one. (When Michel Hazanavicius made dreaded in 2017 on the production of Godard of his 1967 film the Chinese, the man himself called “a stupid and stupid idea”; Hazanavicius did not even make a film on the first and the biggest success of Godard.
However, Linklater of course unconsciously creates a stylistic tribute – not for Godard, but to his much more emollient collaborator, accessible and adapted to the Hollywood François Truffaut. Truffaut wrote the basic story for Breathless and gave Godard its commercial success; It was based on a sensational story of the real crime on a hard-to-cook that pulls on a cop and obtains a leaky American girlfriend, grabbing love and romance while he can, aware that the days of a copper are counted.
The real characters of breathless history, from the most famous to the most obscure (this last category being of course treated with respect for rigorous supervisors) are introduced with static portrait, looking at the camera with their enlightened names on the screen; Even in the action itself, these people are often discussed by their full name with an amazed sentence on their importance so that we know where we are.
Godard himself, a Cahiers du Cinéma Gunslinger-Critique, the desire to move to the production of films, is played by the newcomer Guillaume Marbeck, constantly dropping epigrams and medications and raising the disdainful paves on the subject of cinema-and perhaps Godard was like that, at least part of the time. Maliciously link allows the public to wonder if Godard will never remove his sunglasses and get a moment of “magnificent librarian”, or at least a moment to admit that you should not watch films through dark glasses. Aubry Dillon plays Belmondo and Zoey Deutch is Seberg, breaks forever in fluid and accentuated French from Ohio. Adrien Rouyard is Truffaut, Matthieu Penchinat is the brilliant director of photography Raoul Coutard whose news on the news by covering the wars made him an inspired choice for the guerrilla warfare adventures of Godard, Benjamin Clery is the first assistant director of Godard, Pierre Rissient and Baino Dreyfürst, including the producer George, George de Godard, whose producer of the discomfort of Godard, George “Baio Baiu” is of the inconvenience of Godard. With Godard Over Money led to an unworthy physical fight in a Paris café.
The shooting begins, extended by capricious haughty delays of Godard to adapt to authentic inspiration, as the actors say in a fun way everything they love and the tyrannical director while the camera turns, because everything must be nicknamed later in the studio. The Suzon Faye continuity supervisor (Pauline Belle) Crossly tells Godard that her rider contempt to match the eyelids in successive photos means a problem in the assembly; A suspicion of the imminent revolution of the grammar of the film, perhaps, although Godard de Linklater has the humility of saying that he did not invent the blows.
In the end, Linklater Godard is as opaque and essentially imperturbable as at the beginning, bubbling with competitive anxiety to the success of the 400 truffle strokes in Cannes and struggling to enter the holidays and the shooting trays; And again, none of this, no doubt, is inaccurate. But everything is very smooth: a Sick Steadicam rolls through a historic and tumultuous moment.
