Word: coutard
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Dates: during 1960-1969
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...notion is amusing but clumsily worked out. Aside from some radiant color photography by Raoul Coutard (Jules and Jim, Breathless), Clift is the only interesting thing in this sluggish and somewhat muddled movie. But the interest in Clift, who died of a heart attack soon after this picture was completed, will be mostly morbid. Suffice it to say that his acting, though competent, is less striking than his appearance. He looks like a man who knows he is in bad health-and in a bad picture. It provides an undistinguished conclusion to a distinguished career...
Breathless also featured an alienated hero treated without sentimentality. But unlike Truffaut, Godard created an entire revolution in technique. Godard and his superb cameraman, Raoul Coutard, used a hand-held camera for the entire film, giving the director an unheard-of flexibility. Instead of planning the shooting meticulously as convention dictated, Godard created the film through the viewfinder and often used candid shots. Most of all, through both the camera-work and the editing, Godard insisted upon a constant impression of energy which was to infuse the enthusiasms of an entire generation of film-makers...
...have failed to mention two of the film's outstanding accomplishments: the luminous, plastic photography of Raoul Coutard. Godard's cameraman on his ten films, beginning with Breathless (1961); and the score, which owes its beauty to Beethoven's string quarters and its effectiveness to Godard's superb timing. I've also omitted the film's verbalism. Signs and the printed word play a key part in most Godard films, from the Bogart poster of Breathless to the flashing neon lights of Alphaville, and they crop up again and again in The Married Woman. But why they are used...