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An impressive, moving, and breathtaking film is a sophisticated but largely sinusistic philosophy that is not covered by unfair belief, grumpiness, or cynicism. In Godard’s ongoing editing system, a series of fictional films based on the cause-effect relationship of the psychologically consistent characters of the film never ceased to be directed, but that doesn’t mean that Godard established these contracts with anger or disgust. At least not yet. The idea of seeing the riches of the neural past very deeply and seeing it so vividly that its future will be shaped comes from a direction of excitement and possibility. It is not surprising that Breathless remains fresh, even 50 years after the Paris premiere of March 1960. Synchronized with contemporary cultural tendencies and habits, Jean-Luc Godard’s masterpiece envisions both his cultural obsession and his dominating thoughts with his literary references.
Patricia and Michel in the story, apart from class and educational differences, are completely different people in character traits. But this situation cannot save them from falling into the trap of their ‘unreasonable’ love. When told chronologically, it doesn’t bring such a sad story. But the director tells this story, all the events that have started today and with the comebacks. The long dialogues between the two characters and the improvisational gestures that follow their conversations make the feeling they feel more meaningful. Transferring a simple story about a relationship to the screen creates the distress caused by the unilateral ending of love between the film’s conventional rounds. Michel stands up to his love and tries to get hold of it, but Patricia’s intellectual wear is irreversible. Jean-Luc Godard’s film is an interesting character drama that develops around these and similar themes. The mystery around Patricia is not only true for the other characters in the film, but also for us, the audience. Michel is a typical character of Godard, with an expression of unbelievable sadness and silly expression at the same time as he is well suited to a car thief, crook, and fugitive typing. What Michel stole from whom, perhaps we are not even sure of watching, but his murder, his occupation or interests before he came to France are presented to the audience with their scattered different moments of the film, and without being at the center of the scenes they are explained. All these elements that I mentioned about the content are reflected in the form of the film. Patricia enters Michel’s life as an observer, even if she does not pursue a reality in particular. She prefers to show the audience parts of the daily life of the characters she tells the story. This attitude is felt in the editing of the film. Just as we get information about the character of Patritia in pieces, the film sometimes leaves deliberate temporal gaps between scenes. In other words, Patricia approaches the story and characters at a distance from most of the film.
In this production, which has in-movie titles coming from the silent film tradition and various sequences such as speaking to the audience by looking at the camera, the language references and various writers and painters are included. There is also a cut jump cut technique. Production was the starting point of this technique. The story is that the part of the film consisting of uncut scenes is quite long by the distributor. For the film’s director, Godard didn’t initially have any scripts for that production. With the help of the script, Truffaut caught over time a whole in itself.1 We can come across this feature of the production in many scenes because we have to say that we owe the characters’ long dialogue. The production also helps us to recognize France after the Second World War. Behind the scenes, the gracefully rendered visuals are quite devious. This is Godard’s first feature film, which has the blessings of lack of production. As Godard is said to be unable to budget for production, the film looks a bit cheap, but it doesn’t seem to have any other visual features for the audience, because in some scenes Godard pushes the camera in a wheelchair or uses a hand-held camera.
In all these currents, apart from new techniques, the film also accommodates love as in other Godard films. For a director who says there is no movie without love; love is an indexical expression. With love, it is obvious that the crime will be committed. At this point, the director and screenwriter push the female character to a choice, Godard’s female characters are smart as well as beautiful and are necessarily on the side that has the choice. The mediocrity of the characters and the choice of freedom in the mediocrity enable him to establish a connection with the audience and convey the character’s mood to the screen with close-ups of the film. It identifies the audience with characters, except indirectly, with little nuances. Michel’s lip movement, Patricias obsession with mirrors and beauty, and newspaper and car images are just a few of them. In the end, we can say that Breathless is an anarchist film and the new wave is the beginning of cinema as well as the end.
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