Word: godard
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...directors whose point of view and command of visual style entitled them to the respect given novelists and painters. In 1958, at 26, he directed The 400 Blows, brought the new wave of film makers to its crest and became a budding auteur. With fellow New Wavers Jean-Luc Godard and Alain Resnais, Truffaut yanked film into the modernist age. No longer would the screen serve merely as a window through which the spectator sees "real people." Now it could show anything, in any and all fashions. Time could be stretched or collapsed, as in Jules et Jim; the narrative...
...become a fecund source of material for generations of movie directors. Cinematic treatments have run the gamut from Charlie Chaplin's burlesque Carmen (1916) to the soft-porn Carmen, Baby (1967). The past year alone has seen radical film versions by Peter Brook, Carlos Saura and Jean-Luc Godard...
...generation that learned to take film seriously in the '60s, Jean-Luc Godard's Breathless was nothing less than breathtaking. Offhandedly it proposed that B movies, and almost everything else in the junk culture, actually influenced behavior more profoundly than the official culture did. Openly, instead of in the coded language of melodrama, the picture suggested that most of the violence in society was both meaningless and affectless. And this it did with a brash, jump-cut technique that seemed to be anti-technique. Dedicated to Monogram Pictures, the old Poverty Row movie mill, this was a Hollywood...
...only imagine with what trepidation McBride and Carson, whose major previous credit is the undercult classic David Holtzman's Diary, approached the problem of remaking Breathless, updating it and resetting it in Los Angeles, the center of everything Godard was subverting. Indeed the movie never entirely shakes off its self-consciousness. But the stale, cynical air that attends most remakes is absent here. Carson knows how to write out of the side of his mouth, and McBride knows how to stage both action and eroticism; their work has a drive and energy that derive from conviction and, perhaps, good...
...High school. Don't Be Cruel and Tutti Frutti. Philip Morris cigarettes. Fast times and slow dancing. Rebels without cause. Budapest. (Huh?) It would seem that what Jean-Luc Godard called the Coca-Colonization of Europe made an early conquest of Eastern Europe too, worming not just into jeans but into dreams. The ecstasy of fear flashes on a teen-ager's face as he dares to sass a sadistic teacher, and one can trace the punk-heroic contours of James Dean. Seven years after the Soviet-crushed revolution, Hungarian youths want only to escape...