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If there are any films that offer a fabulous sense of like for the cinema, they are the films of Jean-Luc Godard. But, as he explains in a brief interview from 1964 that is included with this graceful DVD, he was also against film; that is, against the conventions and rules that predominated French cinema. So he introduced unconventional methods of telling stories and making movies and decided to include elements that films typically left out. “Band of Outsiders” is a naughty, unconventional, mesmerizing yarn of small-time gangsters and young admire situation in 1960s Paris. Its source material runs the gamut from the pulp crime modern on which it is based to the American B-movies and film noir that inspired its gaze. It’s Godard’s best savor letter to Paris since “Breathless,” and also one of the last of his lawful Modern Wave films.
The chronicle might be simple enough: Arthur and Franz enlist the relieve of the young, stunning Odile to stage a robbery. But if the fable is simple, everything else around it is not. Here we bag allusions and homages to Arthur Rimbaud (the poet whom one of the characters is named after), Franz Kafka, film composer Michel Legrand, “The Umbrellas of Cherbourg,” T.S. Eliot, Shakespeare, American cartoons, Jack London, Charlie Chaplin, Andre Breton, Andre Malraux, and numerous others. That’s Godard doing his thing, and even if we miss those allusions, there’s so distinguished more to be cherished: the noted itsy-bitsy of silence, the running visit through the Louvre, the dance scene, the graceful closeups of Anna Karina, riding on the underground metro, the trio driving through the streets of Paris.
“Band of Outsiders” is sportive, wondrous, hilarious, breezy, but at the same time melancholic, sunless in its undertones. Raoul Coutard’s photography gives it a stark stare, but its playfulness is its most alluring aspect, along with Godard’s wonderfully lively, inventive visual language. It might not be the finest example of the French Fresh Wave, nor is it as perfect as a work of art as “Breathless” and “My Life to Live,” but in its flaunting of cinematic invention, its richness, and its embodiment of pure cinema, it’s in a class by itself and certainly a film that should be seen, if not owned, by lovers of cinema. Its most memorable moments will remain in your mind forever.
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Many Godard fans, myself included, have been waiting eagerly for this Criterion edition of “Band of Outsiders.” It’s a powerful digital transfer; the images and contrasts are crisp; the mono soundtrack is as distinct as possible. The additional features are worth the impress of the DVD alone, including a visual glossary that explains many of the film’s allusions and a brief interview in which Godard explains the philosophy gradual the Fresh Wave. Criterion has really outdone itself with this disc, and that’s saying something.
I recommend that, even if you do not know French, you should peep this film at least once with the subtitles off since they sometimes obscure the closeups that effect this film so memorable. When the camera is on Anna Karina’s face, contain me when I say you don’t want anything to stand in its diagram.
‘Band of outsiders’ is Jean-Luc Cinema Godard’s most endearing film – a teen movie played by adults, a esteem account, a heist movie, a serial, a slapstick comedy, an anthology of Current Wave magic. As with previous films, Hollywood genre is made a complete nonsense, continually deflated by extended bits of business, my favourite being the attempt to beat the relate for racing down the Louvre’s corridors impartial before the heist.
As with all early Godard, the joy of ‘Band’ is in the bouyant playfulness of his style – the high, long shots looking down on bustling activity; the long car-journeys through Paris streets; the intense close-ups on Anna Karina (Godard’s wife), eluding all meaning, or the sheer rapture in watching her running along pavements, or crossing a river; the messing around disused yards; the lengthy quotes and allusions that stall the action and give resonance to the droll goings-on and the turmoil of the characters in them; the unwavering long takes with though-provoking steady sound; the impish homages to mature Hollywood; the narrator’s bumptious intrusions, equating events with ‘bad B-movies’.
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More than Louis Malle’s ‘Zazie dans le metro’, ‘Band’ is the ultimate Raymond Queneau film – Karina’s character is named after the heroine of Queneau’s roman a clef ‘Odile’, a book about the writer’s demolish with the Surrealists, objective as ‘Band’ signals Godard’s outpacing the Current Wave – with its deadpan marginal heroes, its elusive heroine who doesn’t want to be elusive; its romanticising Paris, especially its margins and its pull to the embankments; the attractions like circuses and funfairs intruding on the everyday. Godard finds a cinematic equivalent for Queneau’s record vow – its flip melancholy; its casual intellectualism; its disappear from messing about to the philosophical to slapstick to dreams to the tragic and aid again; in the self-consciousness of the characters; in the account mix of whim, genre and destiny.
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