‘Nouvelle Vague’ Review: Richard Linklater’s Enjoyable Deep Dive Celebrates How Godard’s ‘Breathless’ Came to Life

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The official summary for Richard Linklater’s “Nouvelle Vague” presents it as a tale that resembles the process of Godard creating “Breathless,” reflecting the same approach and essence Godard used while making “Breathless.

The pitch is appealing, yet subtly misleading. Godard’s 1960 film revolutionized cinema by shattering traditional narrative and aesthetic norms, establishing new guidelines for cinematic possibilities and laying the foundation for contemporary filmmaking as we understand it today. In contrast, Linklater’s tribute is more conventional: It follows a straightforward plotline, was filmed with a large cast and crew, features actors who closely resemble the real-life figures they portray, heavily relies on visual effects to recreate 1960s Paris, and has a style distinctly different from Godard. Nevertheless, it effectively conveys the essence of the man’s creative process, underscoring the sacrifices and compromises required to produce his groundbreaking work.

Throughout his career, Linklater has been known for venturing into various film genres, from his independent debut “Slacker” in 1990, to animated films like “A Scanner Darkly” and “Waking Life”, Hollywood comedies such as “School of Rock”, to the long-term project “Boyhood”, filmed over a decade with the same actors aging naturally. Born in Houston, this director has often experimented with film structure while still adhering to traditional storytelling methods. Consequently, it’s not unexpected that he found Godard’s approach intriguing enough to create an entire movie centered around it.

Exploring intricate details about the early stages of ‘Breathless’ production and its 20-day turbulent shoot, featuring appearances by notable New Wave figures, Nouvelle Vague appears tailored for viewers well-versed in movie trivia. Essentially, it’s a film for cinephiles – a behind-the-scenes look that may be hard to grasp if you haven’t watched the original movie. However, it remains lighthearted and engaging, never losing its playful tone while shedding light on a crucial period in cinema history.

Linklater doesn’t copy Godard in this work, but he offers a compelling portrayal of what it might have been like to collaborate with the director, played by debutant Guillaume Marbeck who strongly resembles Godard. Essentially, Godard was notoriously difficult, often eschewing scriptwriting, walking off set when his ideas ran dry, disregarding cinematic continuity, and even engaging in a physical altercation with his frustrated producer, George de Beauregard (Bruno Dreyfürst).

Indeed, he was not only clever and wise but also had an irresistible charm. He was consumed with the desire to create something entirely new, as evident in the beginning of “Nouvelle Vague”. Here, Godard, barely 30 years old, is seen chasing after fellow critics from “Cahiers du cinéma”, including Truffaut (Adrien Rouyard), Chabrol (Antoine Besson), Rivette (Jonas Marmy) and Rohmer (Côme Thieulin). All of them had already directed their first feature. In a fit of frustration, Godard remarked at a gathering, “The best way to criticize a film is to make one”, echoing one of many quotes attributed to him that punctuate a carefully crafted screenplay (penned by Holly Gent, Vince Palmo, Michèle Halberstadt and Laetitia Masson).

Following the achievements of Truffaut’s “The 400 Blows” and Chabrol’s “Le Beau Serge”, Godard persuades de Beauregard to fund a low-budget, independent film (approximately $77,000 in today’s value) inspired by a real-life gangster tale. He chooses Jean-Paul Belmondo, an amateur boxer, to portray the protagonist, while casting Jean Seberg, a Hollywood actress, as his American girlfriend. The team for this production is kept minimal, including Raoul Coutard, a former war cameraman, and Pierre Rissient, a cunning assistant director.

The remaining portion of “Nouvelle Vague” provides a real-time chronicle of events during the filming of “Breathless,” which might shock those unfamiliar with the movie’s background. As there was merely a treatment (co-written with Truffaut), Godard improvised scenes as he progressed, shooting without sound so actors could dub themselves later. He typically performed only one or two takes and preferred to swiftly move through sequences, improvising and abruptly halting when inspiration waned. Occasionally, the cast and crew would spend an entire day lounging at a Montparnasse café while Godard jotted down ideas on napkins.

As a devoted admirer, it’s fascinating to reflect on the making of “Breathless,” a production that felt more like an amateur showcase, as suggested by the detached lens of Coutard and some other team members. Amidst the organized chaos, Jean Seberg, exhibiting deep skepticism, strives to deliver her finest performance. Meanwhile, Jean-Paul Belmondo, ever the flexible performer, seems to revel in the madness. Remarkably, from the first day, Godard exuded an unwavering confidence, asserting “reality isn’t continuity!” even when the script girl, Pauline Belle, voiced concerns about a missing prop. This conviction, despite the pandemonium, managed to win over most of his cast and crew.

It’s beneficial that he’s a charmingly humorous individual who can both deliver and endure jokes. Linklater strategically highlights the lighter aspect of a director famed for profound works at the pinnacle of art-house cinema, yet in truth, Godard was often part comedian and part film philosopher. This doesn’t diminish his dedication to crafting his first feature, and even during challenges, he maintains focus on his goal (“Disappointments are fleeting, film is eternal,” he states with unwavering confidence). If aspiring directors glean anything from Nouvelle Vague, it’s that Godard had a vision for his destination but was unsure of the journey. His willingness to explore possibilities is what made his films unique.

Linklater’s film may not be as groundbreaking as anything Jean-Luc Godard (JLG) created, but it provides a unique, well-informed perspective on a significant milestone in the director’s career and film history at large. Not only does it feature the New Wave heavyweights, but it also gives space to less renowned figures such as Rissient or Suzanne Schiffman (Jodie Ruth Forest), who later collaborated with Truffaut and Rivette on scriptwriting. Moreover, it highlights that the movement wasn’t spontaneous, but was nurtured by a group of experienced directors – Jean-Pierre Melville (Tom Novembre), Roberto Rosselini (Laurent Mothe) and Robert Bresson (Aurélien Lorgnier) – who served as mentors to Godard and his peers.

The research is reflected in David Chambille’s remarkably genuine black-and-white photography, which gives the action a feel as if it was filmed on film stock from 1959. The sets by Katia Wyszkop accurately depict Paris interiors of that era, featuring the real offices of Cahiers and various cafés scattered throughout town. For exterior scenes, around 300 shots needed extensive visual effects to transport us back to that time period, particularly for the well-known Breathless scenes filmed on a bustling Champs-Elysées.

This film boasts a considerable production scale, likely costing more money and manpower than Jean-Luc Godard’s debut film, which might seem counterintuitive given the movie’s message that grand budgets and large crews aren’t essential for creating something exceptional. However, Richard Linklater acknowledges and admires Godard’s boldness, despite the film being more traditionally structured (it should be noted that it was largely filmed in French).

If “Nouvelle Vague” isn’t identical to “Breathless,” it pays a heartfelt tribute to the chaotic method behind the creation of “Breathless” – a time when films could be produced quickly, economically, and without restraint, yet still leave an indelible mark on cinema.

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2025-05-17 20:55