07/05/1998 at 2:36
Louis Skorecki
Godard, again and again. What is most touching in its inaugural film, Breathless this groping, that's the beauty standard, the names of these American songs which can not forget the air and running in a loop in their heads. When Martial Solal strums sinuous melody that takes place here in music, other music stands up to him, as if his life depended on it. It is made of elk broken bits of dialogue dissonant feelings read aloud. Here, indeed, we read in the souls as we read in a book. The premise, basically, is a character, it is leafing. He will return to the Situationists, a few years later, to theorize diverted in their comics art speech returned as a ping-pong master talker. Hence their hatred for the young Godard rival unexpected cut-up political and sentimental, true inventor of melodrama organize (hopefully) and contemporary musical (A Woman Is a Woman), deciphering the world such that unexpected it goes. Breathless traverses familiar territory at the outset, a mixture of film noir and experimental film, willingly forgetting bewildered in the contemplation of its two main protagonists, Jean Seberg, borrowed as it is in Otto Preminger (Hello Sadness) in a reckless act of love, and Jean-Paul Belmondo, diverted time of his inclinations theater people. One and one will be marked forever by their barely sketched characters, a nice trick for the lazy viewer shapes them in his image. This is called two icons, a boxer in unemployment and an American crossing, meeting in a window unfinished. A mythology written before our eyes, jerky made fittings and evidence of love ever claimed. Godard never did find that freshness transient allusive art of portraiture, in a light to dwell on what serves as a core player, namely a T-shirt and hat.
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