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Richard Linklater’s Breathless Tribute Nouvelle Vague Is an Inside Baseball Movie for Everyone

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On certain days, it feels as though we inhabit a harsh reality where most people pay little heed to art. One might wonder how many individuals in such a world would take interest in an old black-and-white film, one that for non-French speakers necessitates reading subtitles.

Here comes a comet: Richard Linklater’s remarkable film “Nouvelle Vague” – a nimble, clever, refined portrayal of the production of a movie that only ardent cinephiles and senior enthusiasts might find appealing – Jean-Luc Godard’s groundbreaking debut, 1959’s “Breathless” – may resonate with only around 2.6% of the general populace. Who would create such a film? Only someone who cares. “Nouvelle Vague”, which premiered at the Cannes Film Festival on May 17, is the epitome of an insider’s perspective on filmmaking. But beyond that, it’s a film that champions art, history, and the pursuit of understanding things that may initially seem confusing. It’s a cry of jubilation and a rallying call. It’s all about the brave, powerful act of caring.

At the tender age of 29, Jean-Luc Godard had already directed À bout de souffle, a film later known as Breathless in English-speaking countries. However, despite his early success, he felt he was falling behind his contemporaries at the movie journal Cahiers du Cinéma, many of whom went on to become renowned filmmakers. It might seem strange, but these critics were also filmmakers. Godard admired his colleague François Truffaut’s work, particularly The 400 Blows, a movie Godard adored and envied. Driven by ambition, rebelliousness, and unconventional genius, Godard yearned to create his own film. But the question was, who would finance it?

The movie Nouvelle Vague recounts the story of charismatic yet somewhat arrogant Godard, portrayed exceptionally well by Guillame Marbeck, who manages to gain the opportunity to make Breathless. This film was produced in just 20 days, using a guerrilla-style approach, primarily on the streets of Paris. Godard had concepts for multiple films and in an initial scene, he passionately presents these ideas to producer Georges de Beauregard (played by Bruno Dreyfürsft). However, Beauregard agrees to hire him only if he directs a script that Truffaut (Adrien Rouyard) has already written. This script was inspired by a true story Truffaut had read in the newspaper and focused on a dashingly attractive French ne’er-do-well, Michel Poiccard, played by Jean Paul Belmondo. He steals a car, shoots a police officer, and is eventually deceived by his American journalist girlfriend, Patricia Franchini, portrayed by Jean Seberg as an endearing femme fatale.

Godard sets out to assemble his cast for the upcoming project. He desires his friend Belmondo (Aubry Dullin) to portray Michel, so he visits the boxing gym where the friendly, flexible actor is training. After joining him in a jump-rope session, he presents his case. Can he convince Jean Seberg (Zoey Deutsch), an established star, to play Patricia? Confidently, he takes action by approaching her husband, François Moreuil (Paolo Luka-Noe), who manages her career. She’s hesitant about the idea: she doesn’t want to collaborate with a newcomer; she fears that the project will collapse; and even during filming, she threatens to withdraw. However, against all odds, she perseveres, at times adhering to Godard’s unpredictable guidance but also frequently challenging him. He discovers a cinematographer he appreciates, Raoul Coutard (Matthieu Penchinat). There’s a meticulous script girl, Suzon Faye (Pauline Belle), who attempts to inform her boss Godard that for the sake of continuity, he can’t move a cup from a table in one of the apartments the crew has taken over as a set. “Reality is not about continuity!” he replies, just one of many authoritative, spontaneous, frustratingly charming decrees he will make as he and his peers—all under 30, most with little experience—embark on the exciting journey of creating a film.

If you’re unfamiliar with these real-life characters or their appearances, director Richard Linklater has got you covered. He intentionally populated his cast with actors who closely resemble the actual individuals they portray. Consequently, many of the faces might be new to you, depicting people from history you may not have encountered before. To help viewers quickly recognize each character, their names are displayed at the bottom of the screen, similar to the way characters were identified in silent films. This makes it simple to follow along, and soon enough, you’ll find yourself riding the emerging New Wave alongside the people who contributed to its creation, buoyed by the spirit of Jean-Luc Godard and his carefully selected group of collaborators.

Each day on set, Godard arrived with a fresh wave of innovative ideas. When these ideas dwindled, often after filming just one or two scenes, he would call it a day. Occasionally, in a spontaneous move, he’d cancel the shoot entirely, leading Beauregard to appear unexpectedly, visibly irritated. To avoid drawing attention while shooting on the street, they utilized a postal cart and hid the camera and Coutard within it. Every few minutes, Godard would burst out with one of his favorite sayings. Many of these were familiar, such as “A movie only needs a girl and a gun.” Yet, so many more streamed from his lips that they became an ongoing joke. He drew upon the works of Gaugin (“Art is either plagiarism or revolution”), Duke Ellington (“I don’t need time, I need a deadline”), and Leonardo Da Vinci (“Art is never finished, only abandoned”). Marbeck, with his dark glasses and pipe, would gaze out at the world while dispensing cryptic instructions to his crew, embodying the youthful charm of Godard. Despite wanting to reprimand him, one also couldn’t help but be smitten by him.

To witness this film, “Breathless,” and its creator Jean-Luc Godard, along with his cast and peers, craft what we can’t help but label a masterpiece—a term too ordinary for the vibrant, electrifying spirit that is Breathless—is an exceptional joy. The movie, Nouvelle Vague, is steeped in legend: Godard engages a stuntman to film an intricate scene involving a pedestrian being struck by a car. Ultimately, he decides to only capture the aftermath of the accident, enlisting his friend and fellow director Jacques Rivette (Jonas Marmy) to lie down on the street and feign death. Jean Seberg, with her casual, bohemian-chic short blond haircut, perfectly embodies Seberg. Hearing her speak French fluently, echoing Seberg’s distinctive Midwestern vowels in even the most elegant of languages, is a unique pleasure. (Seberg was born in Iowa, but rests where she truly belongs, at Montparnasse Cemetery in Paris.) And as Belmondo, Dulling delivers an exceptional physical performance, whether he’s rummaging through his pocket for chicken feed to purchase a modest café meal or, after being shot, unsteadily wandering down a Paris street in a blend of tragedy and humor, with Godard and the camera crew following close behind. In Breathless, we view Belmondo’s erratic dance from behind. In Nouvelle Vague, we see Dullin as Belmondo’s face as he swerves and weaves toward his fate. Onlookers express concern; he reassures them. “It’s for a movie!” he says brightly, embodying the essence of Belmondo’s elastic charm.

In contrast to its modest appearance, Nouvelle Vague, unlike Breathless, was not a low-budget film. Although it was shot in Paris, extensive digital effects were used to create an authentic look for the period. This is an example of filmmaking as a bold leap of faith. The intricate details and costumes, particularly Pascaline Chavanne’s designs for Seberg’s wardrobe featuring delicate cardigans and vibrant silk scarves, are exquisite and invaluable. Derek Guy, the knowledgeable connoisseur behind the social media account Die Workwear!, would undoubtedly appreciate Marbeck’s jackets emulating Godard’s casual elegance and well-worn loafers. Cinematographer David Chambille imbues the visuals with a radiant, pearly richness. The soundtrack offers a variety of captivating period jazz, some smooth and sensual, others pulsating with lively energy, much like Martial Solal’s score for Breathless. You may encounter songs you are not familiar with, such as Zoot Sims’ rendition of “My Old Flame,” and I am envious of your anticipated discovery.

It’s clear that Cannes is the ideal spot for debuting a film like Nouvelle Vague, given that nearly all of its enthusiasts (approximately 98%) are present. However, Linklater doesn’t seem to view this film as catering to a specific niche. In his opinion, shouldn’t all films be accessible and relatable in this way? As suggested by the movie’s press notes, when a concerned financier inquired about its target audience, he responded, “Much like my other films, this one is intended for the youth.” This is fitting, given that the film revolves around young people embarking on their first cinematic venture. He mentioned that if he did his job well, young viewers would leave the theater feeling inspired and eager to create their own projects, with the thought, “I can do this too! In fact, I’m going to start right away!

In my opinion, even if you’ve never held a movie camera, Nouvelle Vague feels like an alluring invitation – the most enticing kind of cinema. If you haven’t experienced Breathless yet, I can’t help but wonder what you’re waiting for! And if you already know it, even if you’ve watched it countless times, Nouvelle Vague will offer a fresh perspective. Is there truly a gap between loving a film and being utterly smitten by one? Perhaps the line is delicate. But when a movie stirs such profound emotions within you that you feel compelled to shed tears of pure joy, you know something extraordinary is unfolding. The allure of this cinematic love affair is undeniable – it’s impossible to resist its charm.

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2025-05-18 22:06

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