Breathless (1960)

Jean-Luc Godard’s Breathless (À bout de souffle) is one of the defining films of the French New Wave, a movie that broke cinematic rules and created new ones. It’s stylish, bold, and often feels like it’s making itself up as it goes along—and in many ways, that’s the point. Below is a full guide to the film, its story, and the world around it.

Detailed Summary

Michel Steals a Car

The movie begins with Michel Poiccard (Jean-Paul Belmondo), a small-time criminal who idolizes Humphrey Bogart. He impulsively steals a car in Marseille and heads toward Paris. Along the way, he shoots and kills a policeman who tries to stop him. This murder sets the entire film in motion.

Hiding in Paris

Michel arrives in Paris and seeks out Patricia Franchini (Jean Seberg), an American student selling newspapers on the Champs-Élysées. He hides out with her, trying to rekindle their relationship while also attempting to avoid capture. Michel’s recklessness contrasts with Patricia’s indecision—she isn’t sure how deeply she wants to be involved with him.

Conversations and Evasion

A large portion of the film unfolds in Patricia’s apartment, where she and Michel talk about life, love, and freedom. These dialogues, casual and improvised, became one of the trademarks of French New Wave cinema. Meanwhile, Michel is constantly looking for a way to secure money and flee to Italy.

Patricia’s Doubt

Patricia gradually realizes Michel is in deeper trouble than she thought. The police intensify their hunt, and newspapers start publishing his name and face. She begins to question her feelings for him, torn between attraction and fear.

Movie Ending

The ending is direct, tragic, and iconic. Patricia betrays Michel by calling the police and giving away his location. When Michel realizes what she has done, he doesn’t lash out violently. Instead, he accepts it with a kind of weary resignation.

The police chase him through the streets of Paris until he is shot in the back. Badly wounded, Michel stumbles, runs a few more steps, and collapses. Surrounded by police officers and Patricia, he smears his lips with his thumb, imitating a Bogart-like gesture. His last words are ambiguous—he mutters something Patricia struggles to understand. Depending on translation, he either insults her, calls her “disgusting,” or makes a remark that leaves her questioning her role in his downfall.

Patricia looks at the camera, touching her lips, and the film ends abruptly, without closure. It’s not a neat Hollywood ending but a raw, unresolved one that leaves viewers unsettled.

Are There Post-Credits Scenes?

No. Breathless ends abruptly after Patricia’s final gesture. There is no post-credits scene or epilogue.

Type of Movie

The film is a crime drama, heavily stylized with French New Wave techniques. It combines noir elements (criminal on the run, femme fatale energy) with experimental storytelling and editing.

Cast

• Jean-Paul Belmondo as Michel Poiccard
• Jean Seberg as Patricia Franchini
• Henri-Jacques Huet as Antonio
• Van Doude as a journalist
• Daniel Boulanger as Inspector Vital

Film Music and Composer

The score was composed by Martial Solal, a French jazz pianist. His music gives the film a cool, improvisational rhythm that mirrors its jump cuts and loose narrative.

Filming Locations

The film was shot on the streets of Paris, often without official permits. Godard and his crew used lightweight cameras to move quickly and naturally among real crowds. Paris is not just a backdrop but an essential character—the Champs-Élysées, cafes, and cramped apartments give the film its gritty authenticity.

Awards and Nominations

• Won the Silver Bear for Best Director (Jean-Luc Godard) at the 1960 Berlin International Film Festival.
• Named one of the greatest films ever by various critics’ polls, including Sight & Sound.
• Did not receive major Hollywood awards but became a critical and cultural milestone.

Behind the Scenes Insights

• Godard often wrote dialogue on scraps of paper and handed them to actors right before filming.
• Many shots used hidden microphones and natural lighting because of the guerrilla filmmaking style.
• The famous jump cuts were originally a way to shorten long takes but became a revolutionary editing technique.
• Jean Seberg’s costumes came from her own wardrobe, enhancing her naturalism.

Inspirations and References

• Based on a newspaper story about a real criminal in France.
• Inspired by American film noir and Hollywood gangster movies of the 1930s and 40s.
• Godard was also influenced by his fellow French New Wave directors, particularly François Truffaut, who contributed to the script.

Alternate Endings and Deleted Scenes

There are no widely known alternate endings, but the editing process drastically shaped the movie. The rough cut was much longer. Godard’s decision to chop it down using jump cuts created its unique rhythm.

Book Adaptations and Differences

Breathless was not adapted from a novel. Instead, it was loosely inspired by a real police case, with Truffaut’s initial outline serving as the seed for Godard’s improvisational script.

Memorable Scenes and Quotes

Key Scenes

• Michel stealing the car and addressing the audience directly.
• The long sequence in Patricia’s apartment, full of playful and philosophical exchanges.
• The final street chase and Michel’s collapse.

Iconic Quotes

• Michel: “After all, I’m an asshole.”
• Patricia: “I don’t know if I’m unhappy because I’m not free, or if I’m not free because I’m unhappy.”
• Michel (imitating Bogart): “Bogie would’ve done it better.”

Easter Eggs and Hidden Details

• Michel constantly mimics Humphrey Bogart, a nod to American cinema’s influence on French New Wave.
• Patricia’s questioning of freedom mirrors the existential themes popular in French philosophy at the time.
• The abrupt ending is a deliberate rejection of Hollywood closure.

Trivia

• Jean-Luc Godard was only 29 when he made the film.
• The budget was extremely low, forcing the team to improvise.
• Jean Seberg was already famous for Otto Preminger’s Saint Joan but became an icon thanks to this role.
• The film was shot in just 23 days.

Why Watch?

Because Breathless isn’t just a film—it’s a turning point in cinema. If you want to understand modern filmmaking, from Tarantino’s dialogue to indie guerrilla filmmaking, this movie is essential. It’s stylish, unpredictable, and full of raw energy.

Director’s Other Movies

• Pierrot le Fou (1965)
• Alphaville (1965)
• Weekend (1967)
• Vivre sa Vie (1962)
• Contempt (1963)

Recommended Films for Fans

• The 400 Blows (1959)
• Band of Outsiders (1964)
• Jules and Jim (1962)
• Shoot the Piano Player (1960)
• La Dolce Vita (1960)