Introduction
Jean-Luc Godard’s Breathless (1960) is a groundbreaking film that defies conventional cinematic norms and pushes the boundaries of traditional storytelling techniques. Using innovative approaches and techniques, Breathless creates a unique viewing experience. Overall, the film’s importance lies in its ability to open new ideas and concepts to the idea of filming narrative by representing the antagonism of the main character, along with the unusual camera style used in the film.
Innovative Filming Techniques in Breathless
Chaotic Frames
The opening scene is one of the unconventional episodes in the French filmography of that period. As a striking girl poster is seen throughout the whole shot, the next we see Michel’s face (Breathless, 00:01:00- 00:02:15). As he receives a signal from his female partner, he gets into someone’s car and turns on the engine. Furthermore, the woman he was working with asks to take her with him, but Godard leaves her alone and drives onto the road.
As the ride continues, we hear chaotic phrases and thoughts that Michel shares within his monologue. Several pieces can be seen as unconventional in this episode. First, the main character is not morally righteous but a simple thief who can leave his partners behind without a twinge of conscience. Throughout the story, his character will be mainly seen as antagonistic since his actions do not coincide with the viewer’s perspective. It poses a challenge to the monomyth of cinematography – can we empathize with immoral and unethical characters in his journey?
Uncontrolled Monologues and Dialogues
The second striking episode is the uncontrolled manner of the monologue. Traditional cinematography usually follows the principle of meaningful dialogue, trying to create conversations and phrases with some undertone. However, Michel does not follow this structure by screaming and crying out nonsensical phrases. The importance of these and similar scenes in challenging the traditional filming industry.
Being at the vanguard of the new Hollywood cinema, “Breathless” brought new ideas and structures to movies and techniques taught at academies. A similar sense of dialogue is taken in the episode at Patricia’s apartments (Breathless, 00:30:33-00:35:15). Both main characters are engaged in improvised and uncontrolled dialogue, where ideas are not typically consistent or connected. It reflects a more realistic conversation between lovers rather than a typical, structured, and consistent film dialogue.
Long Handheld Shots and Jump Cuts
Godard’s camera style and movement in “Breathless” further challenge cinematic conventions. Godard uses long takes and handheld shots that emphasize the spontaneous nature of film narrative and the immediate reaction a viewer receives upon actions. It allows us to focus more on the film’s realism and more effectively immerse ourselves in the described world.
Jump cuts were one of the most appealing techniques widely implemented in Hollywood after “Breathless.” Jump cuts or fast cuts grab the viewer’s attention and keep them interested. In the scene where the two main characters are driving the car (Breathless, 00:23:10-00:23:20), jump cuts emphasize the beauty of Patricia through similar but changing scenes. In addition, the sense of discontinuity contributes to the fragmented narrative structure, creating unconventional storytelling.
The given first scene also uses unusual camera techniques to convey the narrative. The handheld camera creates realistic rawness and a sense of immediacy at the scene of the drive through Paris. As the main character speeds by in his car, so does the camera, following the urgency he creates while outracing cars in front. Unsteady camera movements and rapid panning add dynamic scene characteristics, contradicting the traditional smooth shots.
Symbolism in Storytelling
Motifs are also employed to convey deep meaning in the challenge of traditional storytelling. One example is the symbolism of the cigarette that Michel holds in their mouth most of the time. It represents the carefree and rebellious nature of the protagonist. In this sense, Michel can be called the archetype of an anti-hero, the famous character type in modern cinematography. In addition, the film stresses the concept of existentialism throughout the plot.
As Michel and Patricia question their identity and purpose in life, the author explores themes not usually discussed in traditional storytelling. As usual, monomyth follows the hero’s journey to become a better version of himself in the end; in this sense, Godard constructs a new narrative of Michel, who had opportunities to change his life but still ended it in undesired death. The narrative and motif help employ the real nature of an individual with both positive and negative characteristics.
Another interesting aspect of storytelling is breaking the fourth wall. Godard addresses the question to viewers or implies that characters look directly into the camera. The characters’ self-awareness breaks the illusion of the usual moviemaking, where viewers are forced to believe in the world they are observing. Here, acknowledging the presence also works as a realist movie style.
The film is not the first to be a realist movie, but it created new rules and norms to be followed in the neorealism that Hollywood will use. In addition, the storytelling is linear but rather fragmented and can sometimes deviate from the film’s central thesis. There is a series of episodic moments that reflect the characters’ lives and emphasize existentialism through them.
Natural Lighting and Improvisational Acting
The next innovative approach is taken in lighting and acting styles. Using natural lighting at the shooting location creates a raw aesthetic that departs from traditional studio lighting. The depth of realism created by light enables us to have a natural image of characters and their surroundings. In the first episode of the film, the streetlight replaces the usual lighting, enabling the creation of an illuminating surrounding. It also creates a gritty and urban atmosphere.
Regarding acting style, characters are seen as more improvisational than following the usual theatrical norms. A similar example in the episode at Patricia’s apartment shows this uncontrolled manner (Breathless, 00:30:33-00:35:15). In the dialogue, both main characters run from one topic to another, such as when discussing Patricia’s previous man, when Michel reacts to this by claiming that he was in Montparnasse too. Chaotic structure enables characters to believe in their real-life issues and constraints compared with traditional filmmaking, which creates a specific distance between them.
Conclusion
Jean-Luc Godard’s Breathless is a pioneering film that defies the conventions of cinema by using different camera techniques and telling the story of the immoral and unrighteous main characters. The film explores the deviation from traditional values by bringing a new social context to the story. It creates a more realistic cultural and social context for the narrative. By challenging traditional storytelling techniques, Godard creates a new dimension of realism and enables one to immerse oneself in the routine life of the characters of that period. Its techniques and styles still stay relevant.
Works Cited
Breathless. Directed by Jean-Luc Godard, performance by Jean-Paul Belmondo and Jean Seberg, Les Films Imperia, 1960.