One of the great last scenes in New Wave cinema. Up there with 400 Blows. Belmondo is so good in this film, so effortlessly credible. And this was the best I ever saw Seberg. Godard owned this movie like few directors do.
Very poor translation. Belmondo says "Makes me want to puke." When Patricia asks what he said, the detective tells her he said "You make him want to puke", changing Belmondo's final words about the meaningless of life into a simple-minded accusation about her. Patricia's response, "What does puke mean", confirms Belmondo's alienation, regardless of what he meant to say. The clips translation is far too conventional for this most unconventional film.
@@JasonKatsanisThe word in my Criterion Collection addition is dégueulasse. It's not a perfect translation of puke, of course, which is part of the reason the meaning of Michel's words - his intention, are still debated. What's interesting is that several times in the movie Patricia asks the meaning of a French word. Since the film, among other things, deconstructs cinematic conventions, this questioning of the meaning of everyday language is consistent with Godard's intent, as far as we can determine it. Great film.
French slang (argot) for puking is “dégueuler” but someone who is dégueulasse is a bastard, a lowlife, a disgusting person. In the early seventies, this slang word was relatively new so she, as an American, would not have been familiar with it. Take it from this native French speaker: don’t try to interpret literally but try to learn the French expressions (especially in slang) in their context.
Drew Davis: Belmondo said “c’est vraiment dégueulasse” (IT is really disgusting) but when Jean Seberg asked the other guy what he said the other guy said “ Il a dit VOUS êtes vraiment dégueulasse” ( YOU ) and twisted it to say she is disgusting/ lousy. If you read French fluently there was a great article in Le Monde this weekend about Belmondo and how Godard let him actually totally improvise this scene.
It's beautiful and powerful, an essential part of the scene, but I don't think it was improvised, because she appears to me mimicking a similar gesture that was repeated by Belmondo throughout the movie...
@@annavitoria3962 it's a reference to Humphrey Bogart and classical Hollywood cinema, which Godard and other nouvelle vague authors both admired and opposed. The gesture itself is the reference, while the way she delivers it (very mechanical and looking toward the camera) is a way of breaking the immersion of the film thus "rebelling" against classical cinema rules
Yes, the scene is intentionally farcical. "Breathless" employs many hyperbolic stagings to challenge the audience's traditional role of suspending disbelief and being effectively passive. Godard wants the audience to actively participate not only in the movie as narrative but in questioning where the line between an audience and a cinematic experience is and what that demarcation means.
Acdragonrider Videos Michel lived a performance. He was an act. He belonged to the past, the world of Bogart. Patricia lived a life. It might be drab, materialist, based on fleeting moments but it was present, real. She was always resisting him but could not escape except to betray him like the femme fatales of his movie fantasies. His fate was for her to fulfill this roll though she had no real understanding of it as she had no real connection to him.
@@drewdavis1962 Because he was a criminal and she felt a life with him would be dangerous.So she thought she could send him on the run and he could save himself. DId not work out that way.
I recommend listening to one of Hubert Dreyfus' lectures on this film. It will help you see that her main problem is that she's too scared to commit to anyone or anything.
so basically he is making a film and he is doing it in the French new wave and so that uses conventions of the French nrew wave look at it from the perspective of a podcast and a French new wave esque film so yeah basically just conventions of the French new wave in the French new wave time for the film
@@paulyboy976 he missed the part where the french new wave puts into perspective how the french new wave and the french new wave became closer to the conventions of the new french new wave french wave
Goddard was only hated before around 1960 by the way! His work is very admirable now. He always did an amazing work, sadly, censor existed around that time.
Breaking with conventions is very risky and takes courage or indifference. Either way, American filmmakers of that time were encouraged to break cinematic conventions, leading to "Bonnie and Clyde", "The Graduate", "Easy Rider" and other greats of the late 60's, early 70's.
This is the greatest thing in cinema... ever... a constant reminder for filmmakers to be more... PLAYFUL. :) Forever inspired by this.
By far. The greatest of the movement, of the 20th century, and off the decade.
One of my favorites
One of the great last scenes in New Wave cinema. Up there with 400 Blows. Belmondo is so good in this film, so effortlessly credible. And this was the best I ever saw Seberg. Godard owned this movie like few directors do.
SO REAL
Loved this film so much. Cinema has changed and not for the better.
Very poor translation. Belmondo says "Makes me want to puke." When Patricia asks what he said, the detective tells her he said "You make him want to puke", changing Belmondo's final words about the meaningless of life into a simple-minded accusation about her. Patricia's response, "What does puke mean", confirms Belmondo's alienation, regardless of what he meant to say. The clips translation is far too conventional for this most unconventional film.
What is the French word for puke? Is it slang or something, that she didn't know what it meant?
@@JasonKatsanisThe word in my Criterion Collection addition is dégueulasse. It's not a perfect translation of puke, of course, which is part of the reason the meaning of Michel's words - his intention, are still debated. What's interesting is that several times in the movie Patricia asks the meaning of a French word. Since the film, among other things, deconstructs cinematic conventions, this questioning of the meaning of everyday language is consistent with Godard's intent, as far as we can determine it. Great film.
French slang (argot) for puking is “dégueuler” but someone who is dégueulasse is a bastard, a lowlife, a disgusting person. In the early seventies, this slang word was relatively new so she, as an American, would not have been familiar with it. Take it from this native French speaker: don’t try to interpret literally but try to learn the French expressions (especially in slang) in their context.
@@Magss115 Do you think Michel says “dégueuler” or "
Drew Davis: Belmondo said “c’est vraiment dégueulasse” (IT is really disgusting) but when Jean Seberg asked the other guy what he said the other guy said “ Il a dit VOUS êtes vraiment dégueulasse” ( YOU ) and twisted it to say she is disgusting/ lousy. If you read French fluently there was a great article in Le Monde this weekend about Belmondo and how Godard let him actually totally improvise this scene.
One of the most intense endings ever filmed. Godard, that genius
One of the most intense ever filmed? Maybe back when it first came out...
Truly. Finest of the craft.
R.I.P. Monsieur Belmondo et Miss Seberg.
this scene hits different today 😢
fax
Merci JPB. 1933-2021.
The film that introduced the jump cut
Ugh the way she traces her lip with her thumb is so natural and not forced
I’m sure it was improvised
It's beautiful and powerful, an essential part of the scene, but I don't think it was improvised, because she appears to me mimicking a similar gesture that was repeated by Belmondo throughout the movie...
I didn't understand what this gesture means, can someone tell me?
@@annavitoria3962 it's a reference to Humphrey Bogart and classical Hollywood cinema, which Godard and other nouvelle vague authors both admired and opposed. The gesture itself is the reference, while the way she delivers it (very mechanical and looking toward the camera) is a way of breaking the immersion of the film thus "rebelling" against classical cinema rules
best build up probably ever
There is no way that someone who was shot in that spot would be able to run, let alone that far.
Is a FILM
Yes, the scene is intentionally farcical. "Breathless" employs many hyperbolic stagings to challenge the audience's traditional role of suspending disbelief and being effectively passive. Godard wants the audience to actively participate not only in the movie as narrative but in questioning where the line between an audience and a cinematic experience is and what that demarcation means.
That’s why the movie is great.
I don’t understand why she betrayed him. Can someone explain it to me?
Acdragonrider Videos Michel lived a performance. He was an act. He belonged to the past, the world of Bogart. Patricia lived a life. It might be drab, materialist, based on fleeting moments but it was present, real. She was always resisting him but could not escape except to betray him like the femme fatales of his movie fantasies. His fate was for her to fulfill this roll though she had no real understanding of it as she had no real connection to him.
@@drewdavis1962 Because he was a criminal and she felt a life with him would be dangerous.So she thought she could send him on the run and he could save himself. DId not work out that way.
I recommend listening to one of Hubert Dreyfus' lectures on this film. It will help you see that her main problem is that she's too scared to commit to anyone or anything.
Not a louse, a creep
Someone please explain this ending to me. I saw it when I was a teenager years ago and still don't understand it.
so basically he is making a film and he is doing it in the French new wave and so that uses conventions of the French nrew wave look at it from the perspective of a podcast and a French new wave esque film so yeah basically just conventions of the French new wave in the French new wave time for the film
@@wubbleyoo8714 This helped so much. Thank you.
@@paulyboy976 he missed the part where the french new wave puts into perspective how the french new wave and the french new wave became closer to the conventions of the new french new wave french wave
Two of these people look familiar #dopplegangers
cinema
I don't know if people understand how much Goddard is despised and laughed at in France.
Why? I'm actually curious, I'm not a fan of his work either and I know what type of people like him here in Slovenia.
Goddard was only hated before around 1960 by the way! His work is very admirable now. He always did an amazing work, sadly, censor existed around that time.
Well he's a communist for one thing
this is what people call "cinema" ... 🙄
This was considered as ground breaking? Man the bar was real low back then huh?
Breaking with conventions is very risky and takes courage or indifference. Either way, American filmmakers of that time were encouraged to break cinematic conventions, leading to "Bonnie and Clyde", "The Graduate", "Easy Rider" and other greats of the late 60's, early 70's.
Drew Davis I hate graduate with a passion
Acdragonrider Videos oh dear. How do you feel about Harold and Maude?
Sravan kumar Go back to watching Transformers 3
@@rohandas3573 jokes on you dickhead, T3 was the only movie in that godawful franchise which at least had some semblance of "writing".
A triumph of style over substance...amateurish and stilted
Dub bruh