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Dancing_P [ 8.0 ]
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There isn't much to connect the films of Godard; describing something as 'Godardian' or what have youseems increasingly farfetched to me. The only thing that really connects them is a gleeful abandon of all the rules. Bande a part is often classified as the most accessible Godard; I wouldn't disagree but finding an accessible or indicative Godard doesn't really seem possible. He sends up gangster films (as well as Truffaut's Jules et Jim) with this story of two petty gangsters falling for the same woman (Anna Karina) and planning a heist on her rich parents' home. There's a lot of typically weird stuff here but also the downright iconic scene (the race through the museum and the dance sequence that famously inspired Tarantino) and some of Godard's most incisive (and, well, realistic) dialogue.
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jeff_v [ 8.5 ]
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Godard in his prime, boundlessly creative, reinventing film. The cheeky opening credits include an immodest appellation for Godard --he is credited with providing the film's "cinema," but by the end of the movie, you know he's earned it. Probably the best thing about Godard is the way he's influenced so many great filmmakers. Here is the blueprint for films by Scorsese, Tarantino, Wong and Cuaron, to name a few.
There's just enough meta-narrative to distract from the story, and there's just enough story to distract from the meta-narrative. Some of my favorite scenes: The minute of silence, the spring through the Louvre (breaking Jimmy Johnson's American record), the final gunfight, and the poolhall dance w/ voice-over. It's that voice-over that gets what Godard was doing with this film --struggling to capture thoughts and ideas on a medium built for emotional expression. Can it be done visually? Bande a part shows it can.
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| Weighted Rating | : 7.3 |
| No. Ratings | : 4 | |
| No. Reviews | : 3 | |
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