Richard Linklater's New Wave: A Review of the Godard Film

Contents:

• Linklater's Path to Creating a Cult Cinematic Masterpiece
• Defining the Concept of the "New Wave"
• The Art of Virtuoso Stylization in Linklater's Work
• The Evolution of a Rebellious Story into a Soulless Tribute

On November 6, a biographical dramedy by Richard Linklater, one of the leading figures of American independent film, will premiere in Russian cinemas. Shot in black and white, the film immerses viewers in the making of Breathless, Jean-Luc Godard's iconic work that became a symbol of French cinematic innovation. Film critic Timur Aliyev, who considers the New Wave more of a touching nostalgia for an important stage in the history of cinema, shares his thoughts:

• Linklater masterfully illustrates the confusion reigning in the film industry through a variety of techniques and artistic solutions. His films often immerse the viewer in a world where the creative process is intertwined with elements of uncertainty and absurdity. The director emphasizes the difficulties faced by those involved in the filming process, whether actors, screenwriters, or producers.

  He uses documentary elements to highlight the reality and unpredictability of filmmaking, showing how unexpected situations can influence the final product. Linklater creates an atmosphere that balances chaos and order, demonstrating how a passion for cinema can lead to unexpected turns and conflicts. In this way, the director not only entertains but also provokes reflection on the complexities of filmmaking.

• The New Wave had a significant influence on the development of modern cinema, introducing fresh ideas and approaches. This cinematic movement, which emerged in the mid-20th century, became a catalyst for changes in narrative structures and the visual language of films. Directors of the era began experimenting with form and content, rejecting traditional norms and creating more personal, auteur-driven works.

  One of the key aspects of the New Wave was a commitment to realism. Films of this movement were often shot on location, using natural lighting and relaxed acting. This allowed for more vivid and believable images that resonated with audiences.

  Furthermore, the New Wave introduced new narrative techniques to cinema. Directors began using unconventional time structures, fragmented plots, and subjective points of view, enriching the cinematic palette. This innovation inspired many subsequent authors, who continued to develop the ideas of their predecessors.

  Thus, the "New Wave" not only changed the approach to filmmaking, but also laid the foundations for future experiments in cinema, which continue to develop to this day.

• What is the reason why actors so often turn their gaze to the camera?
• Why is it so necessary to show a hooligan spirit?

Linklater's path to creating a cult cinematic masterpiece

On screen, we see Jean-Luc Godard, not yet a director, but acting in the role of a young film critic for the Parisian publication Cahiers du cinéma. Young Godard felt intense envy for the achievements of his comrades: François Truffaut had already presented audiences with The Four Hundred Blows, and Claude Chabrol had already managed to make three films. Nevertheless, the long-awaited filming is finally starting.

The story, which would change the perception of cinema in the future, was formed in conditions of constant financial deficit. The crew worked without a final script, and the actors created their lines as they went. Each new day brought its own unique challenges, requiring swift solutions: disputes with the set owner, or the actors' tempers flared for a variety of reasons. The leads struggled to adapt to Godard's unique working style.

Onscreen, twenty days of chaos reigned—an extraordinary creative frenzy, numerous retakes to achieve the "desired result," and wheelchairs used to maneuver the camera.

Definition of the concept of "New Wave"

The title of the film refers to the "French New "Nouvelle Vague" (New Wave), which emerged in the late 1950s. During that period, young critics, tired of traditional French cinema, decided to implement the principle "If you criticize, suggest" and picked up cameras to create radically new films.

In the past, French cinema was more reminiscent of theatrical art. Films were distinguished by their scale and brightness, but often created an impression of artificiality, as if life were strictly subject to rational rules. A striking example is Marcel Carné's "The Children of Paradise," released in 1945: the action unfolds in a theatrical atmosphere, and the characters move around the stage, their movements and gestures executed with amazing precision. Or consider the magical castle in Jean Cocteau's "Beauty and the Beast," where the plot is subject to a strict logical structure.

Each room is intended for a specific action, be it a hall in the castle with a set table or a bedroom, where the central element is the heroine's bed. Every character's action is meticulously planned and controlled by the director's vision. This artfully crafted harmony implies a minimal amount of the spontaneity characteristic of real life.

Young film critics decided to challenge existing traditions. They made films on the streets, using non-professional actors, a minimal crew, and simple equipment. For example, Truffaut made a film about boys who ran away from schools and orphanages, called "The Four Hundred Blows." It seemed as if he were simply strolling alongside them, camera at the ready. Claude Chabrol, for his part, portrayed bourgeois families with such authenticity in the film "The Double Turn of the Key" that viewers felt as if they were watching his own neighbors on screen.

One of the noticeable characteristics of New Wave films is the unceremonious way the camera penetrates the characters' personal spaces. Actors often delivered lines that seemed appropriate to the moment, rather than following a pre-written script. Furthermore, the editing of such films lacked smooth transitions between scenes; instead, abrupt cuts were used, emphasizing the viewer's presence in the artificial world of cinema.

French cinema in the first half of the 20th century can be compared to a carefully executed oil painting—sleek, deliberate, and polished. In contrast, the New Wave was presented as a rough draft: vibrant, sometimes awkward, but sincere. This phenomenon became a kind of revolution among young people fascinated by cinema and its art, who argued that cinema should not be just a well-organized business, but, above all, should be perceived as an art form.

The Art of Virtuoso Stylization in Linklater's Work

On screen, we see a film about the making of a film, exquisitely executed in the spirit of the original. Like Godard's work, the actors address the camera openly, and the director's actions are carefully dissected into their components. Linklater deliberately dispels the illusion of reality, constantly reminding the audience that this is, first and foremost, a story about cinema itself.

Style is central to this film, and it is worth noting that in the "New Wave" it is realized at the highest level. Cars typical of the 1950s and 1960s drive along the streets of Paris. The Cahiers du cinéma editorial office is filled with posters of iconic films, and typewriters are constantly churning out witty reviews from French critics.

A particularly striking technique, borrowed from documentary filmmakers, is the inclusion of characters' names. For example, when Jean-Pierre Melville appears on screen, seated in a chair, his first and last names simply appear beneath the actor. However, after a few characters, the focus on names inevitably weakens; physically remembering everyone becomes virtually impossible.

Around the set, you can see such personalities as Agnès Varda, Éric Rohmer, Jacques Rivette, and Suzanne Schiffman. Rossellini and Bresson are also present, discussing the essence of cinema with Godard. It's remarkable that Linklater decided to include these people in his film. However, for a general audience with little connection to French cinema in general and the New Wave in particular, these are just names in the credits.

On the one hand, the presence of iconic figures in cinema helps create an atmosphere of authenticity: the viewer feels immersed in the period in which these particular directors worked. On the other hand, it feels like Linklater is simply following current trends, adding historical appearances of characters only to demonstrate his skills.

Guillaume Marbecq, who plays Godard, is especially noteworthy. He doesn't limit himself to simply imitating the director's usual mannerisms, but strives to penetrate his inner world, striving to convey the emotional state of the young filmmaker. In the scenes where Godard addresses the camera, sharing his fears and doubts that his film may not live up to expectations, his sincerity and vulnerability clearly emerge.

The evolution of a rebellious story into a soulless homage

Richard Linklater had been approaching producers for many years with an offer to make this film. Inspired by the iconic figure of French cinema, he developed an ambitious project dedicated to the art of cinema itself.

Linklater, best known for his romantic trilogy starring Ethan Hawke and Julie Delpy, including Before Sunrise, Before Sunset, and Before Midnight, displays talent across a wide range of formats and genres. His work ranges from the long-term observation of a teenager's life in Boyhood to the animated experiments in Waking Life. The director has always been open to new professional challenges. However, with the Nouvelle Vague project, his usual approach seems to be faltering. Adopting the aesthetics of the past, he resembles a museum curator wary of pushing the envelope.

One need only pay attention to the moment when Godard enters into a discussion with a producer about the impossibility of completing Breathless in 20 days. The actors in these scenes deliver their lines as if Dementors had descended on the set and drained their life force.

Our review presents a dull interpretation of events, not a dynamic, emotionally charged conflict that could have led to a volatile situation between the two sides. In the standoff between creator and investor, the deadline is one of the longest-standing causes of friction. While some confrontation is welcome, we'd like to see more than just joyless despair and resignation from both parties. It would be worth showing emotions such as suffering, rage or anger.

In Linklater's film, the introduction to the key figures of French cinema is carried out in the form of a quick overview, reminiscent of a gallery of portraits. Each of them is presented in a static frame with a first and last name, after which it immediately moves on to the next. Varda, Robert, Bresson, Demy, and others appear only briefly, uttering a few impersonal phrases, and then disappear from view. One is left to ponder the deeper meaning of this presentation, especially given that the film is supplemented by documentary footage during the closing credits.

Another problem is his unusual caution. Linklater, as a rule, actively connects politics with films that at first glance may seem distant from it. For example, in his comedy-drama Fast Food Nation, he explores how fast food influences national interests. In the crime comedy I Am Not a Killer, he addresses the topic of the participation of ordinary citizens in security operations. And in his drama Last Flag Flying, he touches on the social consequences of the war in Iraq.

As for the New Wave, there are no hints of a political context during the making of Breathless. The Godard we see is completely devoid of activist sentiment. It's 1959, and in France, youth and students are actively protesting the Algerian War, and yet a young film critic with intellectual abilities remains on the sidelines? It's hard to believe. In fact, Godard was involved in politics. Almost immediately after the release of Breathless, he released the drama Le Petit Soldat, dedicated to the Algerian War, which remained banned in France until 1963.

Jean-Luc Godard, not the one from Linklater's world, was renowned for his intellectual depth, arrogance, and cold-blooded approach to art. These traits are partly explained by his bourgeois background: his father, a doctor, owned his own clinic, and his mother came from a family of Swiss bankers, which provided the family with a comfortable financial situation. Furthermore, Godard spoke disdainfully of classical French cinema, calling it "daddy-style" and arguing that it deserved to be forgotten.

In this context, Godard emerges as a figure without sharp edges. The complexity of his artistic world is often masked by capriciousness and a romanticized view of the director's profession. When he gets into arguments with actors about their performances, he comes across more like an eccentric than a self-confident young man who wants to change the established rules and is confident in his right to do so.

One gets the sense that the fear of failing to live up to his professional aspirations pushed Linklater to choose a safer path, one in which he could engage not in real directing, but rather in a respectful pastiche of the activity.

In this case, Richard Linklater has proven himself more of a careful custodian of a classic work than simply a director. He has carefully dusted off this cinematic monument, sharing information about those who participated in its creation, as well as the fates of these people. The result is a film that doesn't threaten anything new or surprise anyone, as the viewer already knows the events that happened before and after.

The crux of the matter is that the founders of the French New Wave were not restorers. Jean-Luc Godard, François Truffaut, Claude Chabrol, and their like-minded peers acted as bold, hooligan revolutionaries, unafraid to destroy outdated traditions for the sake of creating something new. Decades later, an American decided to immortalize their memory by creating a cultural necropolis—a sight that is certainly beautiful, but permeated with such emptiness and cold that its image resembles a wolf's howl. Perhaps this is what boredom looks like, wrapped in a long black-and-white cloak of film.

Read also:

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• Nonlinear narrative in film is an approach to telling a story in which events are not presented in chronological order. Instead, writers and directors use a variety of techniques to move the viewer through time, creating intriguing and multilayered narratives.

  This narrative can take many forms, from flashbacks and flashforwards to parallel storylines. This allows for a deeper exploration of characters and their motivations and opens the door to unexpected twists. For example, the viewer may learn key events from the characters' pasts, changing the perception of their actions in the present.

  Furthermore, a nonlinear structure often contributes to an atmosphere of mystery and tension, keeping the audience engaged. It can also provoke reflection on the relationships between different plot elements, making for a more engaging and rich viewing experience.

  As a result, films with non-linear storytelling can evoke deeper emotional responses because viewers become active participants in the process of understanding the plot, trying to connect disparate pieces of information into a coherent whole.

• What is alternative cinema and how should we perceive it?
• Thirty years ago, the world saw the film "Hate" starring Vincent Cassel. This film reflected social issues such as violence, unrest, and abuse by law enforcement. The film's plot immerses the viewer in a harsh reality, demonstrating the difficulties faced by young people living in disadvantaged areas. The film raises important questions about racial and social conflicts, as well as the consequences of systematic discrimination. The work of Cassel and his colleagues continues to be relevant, sparking discussion and reflection on the state of society and how it has changed over three decades.