Michel Poiccard is petty criminal who steals cars like some people speed on the highway. He lies and cheats people close to him, including a girlfriend. He is dangerous when cornered and has murdered a police officer. Yet, at the same time, he is young and glamorous, faithful in his way to Patricia, and in the end willing to pay for his crimes. The film follows some of the rules of a film noir or gangster film. Yet, the film also plays around with those conventions: the police, for example, are incompetent and there is not much tension or excitement in the chase scenes. So what is going on? Is this film saying anything about crime and punishment? Or is it just messing with us?
The 1960 film directed by Jean-Luc Godard, “Breathless,” uses the character of Michel Pioccard, played by Jean-Paul Belmondo, to depict crime as insignificant and meaningless, whether the criminal gets away with the crime or not. Throughout the film, Michel commits various crimes, such as stealing cars, robbing his girlfriend, and shooting a police officer. Despite the gravity of these crimes, Michel commits them in a very casual manner and never seems worried. Along with Jean-Paul’s acting, the film also uses video as sound to add to the casual atmosphere. Shots are long with little movement, such as when Michel is driving away with the car, and the music is not intense. Instead, jazz music plays, a very peculiar sound choice when a character is being pursued by (or pursuing) the police. These three elements of acting, camera work, and sound, create an atmosphere that does not match the audience’s perception of how committing a crime should feel. Instead, it suggests that such crimes are insignificant in the big picture. This insignificance is emphasized in the final scenes of the film, where Michel is killed by the police just as casually as he committed his previous crimes. The sheer causality of these events detaches viewers from the film and allows conscious reflection on Michel’s crimes and their result rather than simple immersion in the film. “Breathless” sends a message that reckless crime in momentary engagements does not pay, and the film allows viewers to understand this message by creating a unique and relaxed atmosphere.
ReplyDeleteThe film, "Breathless," uses the character, Michel Pioccard, to portray crimes as insignificant while also romanticized. Throughout the film, Michel commits several crimes which include killing a police officer when they found him. During that moment, the music was fairly casual and the audience barely got to see the crime itself. Also, the fact that the police officer was alone suggested the incompetence of the police force which allows him to get away swiftly. Michel also steals cars and money after killing the police officer without any repercussions. During those moments the music is jazzy and mysterious but does not convey the intensity that there should be when a crime is committed. These moments along with the incompetence of the police force lowers the seriousness of those situations. Along with the crimes being portrayed as insignificant, the crimes are also romanticized in a way. The calm, jazzy music suggests that it's "cool" to do all of those crimes and to be able to get away with it. Also, the way Patricia still helps Michel and loves him despite committing multiple crimes along with Patricia aiding several of them, portrays a good girl loving a bad boy trope that often romanticizes crime. This trope also overshadows the seriousness of the crimes which causes the audience to focus more on the relationship rather than the things Michel does for his own benefit. In the end, the trope continues despite Michel being shot by Patricia saying that she loves him, and walks away with a mysterious look on her face that makes the audience wonder what will happen next. Overall, "Breathless," sends the message that crime is insignificant and can be romanticized through using music and other actors to create a relaxed and unrealistic atmosphere.
ReplyDeleteThe 1960 film “Breathless” is a clear example of the rooting of the villain. Michel Poiccard is a, in very specific legal terms, "bad" man - he speeds, steals, lies, and evades the police. However, the fact that some people see him as a young, glamorous, and fun man shows the rooting of the villain. The 1960 film “Breathless”, the action for rooting for the villain, in this case Michel Poiccard, is a clear example of pro-villain sentiment. The film's parameters are simple - the police are the good guys out to catch the bad Michel Poiccard. However, people still root for this villain - just like how in other films, people root for the Joker, Darth Vader, and the Terminator. Its the same reason why people support and find people such as Patrick Bateman - clearly the villain, but idolized in society. Sometimes, the villain resonates with us more. After all, as every day people, we are more times on the level of Michel Poiccard rather than the police detectives. We like to see those who might stand in our way - in this case the police - fail. This is why there is such high demand for movies like Money Heist and games like GTA V - the failure of the police and the thrill of watching something happen that is clearly illegal and often puts the lives of people at risk. The same is for Michel Poiccard - a young, fast, and well-groomed man evading the police is just enough swagger and illegality to thrill the audience while not repulsing it. The fact that he also has a fake veil of morality, one that is against cheating on Patricia and willing to pay for his crime, is also something that makes us support him. The idea of a moral gangster that only fights those who are incompetent helps increase the support for Michel Poiccard into a crime-commiting icon. The 1960 film “Breathless”, the action for rooting for the villain, in this case Michel Poiccard, is a clear example of pro-villain sentiment concocted by the director by showing Michel as a crime-commiting gentleman with true morals.
ReplyDeleteThe character of Michel Poiccard in the film "Breathless" is a complex one, blending both positive and negative traits. While he is a petty criminal who steals cars and lies to those close to him, he also has a certain charm and glamour that draws people to him. His loyalty to Patricia is evident throughout the film, even though he cheats on her at times. However, his violent tendencies are also clear, as he murders a police officer when cornered. The film's treatment of crime and punishment is ambiguous. On the one hand, Michel is willing to pay for his crimes in the end, suggesting that the film supports the idea of justice being served. On the other hand, the film also seems to suggest that the punishment may not fit the crime. Michel's murder of the police officer is a severe offense, yet he is ultimately caught and sentenced to death for stealing a car. This disparity raises questions about the fairness of the justice system and whether it truly serves the greater good. "Breathless" is a film that challenges the viewer's expectations and assumptions. It presents a character who is both likable and despicable; and it refuses to neatly fit into the conventions of its genre. The film's treatment of crime and punishment is similarly complex, forcing the viewer to consider the nature of justice and whether it is always served fairly. While the film may not provide clear answers to these questions, it does encourage the viewer to think critically about them.
ReplyDeleteThe film Breathless, a French crime drama film in the French New Wave by Jean-Luc Godard focuses on a man named Michel as he evades the cops. Throughout the film, the cops are displayed as incompetent and fail to capture him due to their idiocy. After the cops realize there is a connection between Patricia and Michel, they have a cop follow her; while following her, Michel starts walking behind him following the cop without the cop noticing him. This shows how the cops were displayed as incompetent. Although the film displays the cops as idiotic, this doesn’t mean the directors were sending a message that cops are idiotic in the real world. By having the cops as idiotic in the film, they were able to let Michel live more casually rather than worrying about getting caught throughout the entire movie. The film avoids sending this message by showing the cops do things that would be unrealistic. Near the middle of the film, the cops announced that they are close to catching the cop killer, Michel, even though they had not reached any further in their investigations and had no reason for thinking they were about to capture him. This is unrealistic for police officers to do when they have no leads, showing that this is not a realistic representation of the cops and that the reason to represent cops this way was to create a better plot. In conclusion, Jean-Luc Godard’s representation of police officers was unrealistic and wasn’t meant to create a bad image of them.
ReplyDeleteThe film Breathless demonstrates crime as trivial and almost comedic. Michel Poiccard steals a car in the beginning of the film. Then commits the worst possible crime of killing someone, a police officer that represents justice and punishment. This represents how Michel miraculously dodges typical repercussions of crime. Typically in a film or in real life, criminals such as Michel are seen to be an antagonist. The viewer is often left wishing for the criminal to get caught. But, the film Breathless changes this narrative. Michel is not hated, if anything he is admired. You want to dislike him for his actions but his whole demeanor draws you (and Patricia) in. The relationship between Michel and Patricia also adds to the portrayal of crime as trivial. Patricia plays along with Michel the criminal. Until the unexpected ending, Patricia lies for Michel to the cops. Dismissing her intimate relationship with Michel to the cops. Patricia is then followed by a cop, as she escapes the cop with a little help from Michel, they act as though nothing happened and suggest to “watch a western”. Although this is not a major aspect of the film, it still shows how normalized and dismissive that they are criminals on the run, in the film. After this Patricia finds out Michel was once married in a news article about his crime. They discuss his past relationship. But, the context of the relationship does not matter as much as the fact that they are a new couple on the run talking about arbitrary subjects rather than protecting themselves. At the end of the film Patricia turns her love and calls the cops on Michel. Here is shot and inevitably killed. But, the process of Michel falling to his death is quite comedic as he stumbles all over in a humorous way. Overall, the act of crime in this movie is shown as unimportant and humourous despite the serious felonies taking place.
ReplyDeleteJean-Luc Godard’s 1960 “Breathless” is a French New Wave film that both follows and subverts the conventions of film noir and gangster films. The film’s protagonist, Michel Poiccard, is a young and glamorous petty criminal who steals cars with ease and lies and cheats those close to him, including his girlfriend Patricia. He makes reckless and dangerous decisions when he is he feels threatened, and even killed a police officer. However, despite his careless, criminal behavior, Michel is charming and likable, making it difficult for the audience to fully condemn him. The film is a commentary on crime and punishment, highlighting what could lead individuals like Michel to a life of crime. Michel clearly fits the theme of the French New Wave. He is a part of post-war French society and he disregards the values of the past. He is a rebel who does not conform to the standards of society. The police, who are supposed to uphold the law, are portrayed as incompetent in their pursuit of Michel. This demonstrates the issue of corruption and failure of the justice system. Godard also downplays the tension in the chase scenes, ignoring the conventions gangster films usually include. Instead, the film focuses on the characters’ relationships, especially Michel and Patricia’s complicated relationship. Their relationship makes it unclear whether they actually love each other or if their relationship is an attempt at rebellion. In the end, Michel loses his life, paying for his crimes in a way, but the film does not provide a clear lesson to learn. Instead, it leaves the audience to consider a corrupt justice system, factors that could potentially lead to a life of crime, and relationships.
ReplyDeleteThe 1960 film Breathless, directed by Jean-Luc Godard, critiques the police force through their comedic portrayal as ineffective and unprofessional through their actions while in pursuit of Michel Poiccard. The movie's plot follows Michel Poiccard, a fast-living car thief, who is on the run after killing a police officer who caught him speeding. Throughout the film, the police are shown to be incompetent through their pursuit of Michel. The detectives nearly catch him in several cases, however, they miss him in nearly every instance. While at the airport questioning WHATS HIS NAME*** Michel left five minutes ago; while interrogating Patricia, Michel watches from outside the building; while Patricia is being chased, she sneaks out through the bathroom while the policeman is left bewildered; while searching for him through a crowd, Michel follows the police as shown by a wide shot from above. In fact, it is only in the very end when Michel gives up and his exact address is phoned in that the police are able to catch up to him. These moments are played for comedic effect, but they also serve to undermine the authority of the police and suggest that they are not capable of carrying out their duties effectively. The ending of the film is also used to further this narrative.
ReplyDeleteOnce the police apprehend Michel, their behavior is unprofessional and their killing of Michel is unwarranted. After being on the run for several days, Patrica exposes his address to the police who she met before. After telling Michel, he doesn’t run and says that he’s tired and wants to go to prison and sleep. As he steps out, his friend hands him a suitcase containing money and tosses a gun at him for his protection, before driving away. After seeing this altercation, and seemingly aware he denied the gun many times, the police shoot him instantly. Although Michel had killed an officer in the past, the police shoot him in a public space where he posed no immediate threat. This moment demonstrates a lack of professionalism in the police force, as they have no restraint in the use of lethal force which should be the last resort. The pose the officer who shoots Michel takes is one that’s almost childish. He sticks his gun out with one hand, squinting his eyes while the other cops watch. It’s as if they were looking forward to killing Michel, rather than apprehending him and fulfilling their lawful duties. This portrayal of the police is a critique of law enforcement’s ability to maintain order and restraint.
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