One of my favorite directors pays homage to one of my favorite cinematic movements in “New Wave,” Richard Linklater’s breathtaking ode to the French New Wave. This time capsule masterpiece isn’t just a lesson in cinema history. It is also a celebration of the creative independence forged by the brilliant filmmakers at the heart of the movement – filmmakers who would reshape cinema from France to Hollywood.
The French New Wave holds a special place in my heart. Years ago, it ignited the movie buff in me by opening my eyes to international cinema. I had seen foreign language films and was even a big fan of them. But that was my dive into the New wave an era that opened my eyes to the styles and influences that paved the way for so many films and filmmakers that would follow. Even more, I loved the bold experimental style and iconoclastic verve that were the pillars of the movement.
Unsurprisingly, Linklater shows that he has a good understanding of what made the French New Wave special with “New Wave.” Not only does he tell a story rooted in the movement, but he shoots his film as if it were a work of the New Wave. It uses the same black and white photograph in 1:37 format. He uses similar editing tricks, such as the signature jump cuts. It captures the spirit of spontaneity that was omnipresent in cinema of the time. And it sticks almost exclusively to the French language – a huge plus.
As for its story, “New Wave” follows the filming of one of the flagship films of the Wave, “Breathless” by one of its key directors, Jean-Luc Godard (played with such comfortable ease by Guillaume Marbeck). Linklater made his debut in 1958 at the Paris premiere of “The Devil’s Pass”. Godard playfully critiques the current state of cinema with his friends and fellow cinephiles François Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson) and Suzanne Schiffman (Jodie Ruth-Forest).
Frustrated that he’s the only film critic in Cinema Notebooks magazine which has not made a film, Godard finally gets his chance thanks to his friend and producer Georges de Beauregard (Bruno Dreyfürst). He gives “Breathless”, a story designed by Truffaut who has just experienced the success of his first feature film “Les 400 coups”. With the support of de Beauregard, the encouragement of Rossellini (Laurent Mothe) and the advice of Melville (Tom Novembre), Godard begins his cinematic odyssey.
Godard is looking for actor Jean-Paul Belmondo (Aubry Dullin) who ignores his agent’s reluctance and agrees to play in the film. But his boldest take is American starlet Jean Seberg (a delightful Zoey Deutch) who is persuaded to perform despite her own reservations. With his two stars in place, Godard goes through pre-production and begins shooting his film, breaking conventions and making his own rules along the way, much to the dismay of his bewildered and often frustrated cast and crew.
Linklater devotes much of his film to retracing the twenty days of filming for “Breathless,” paying homage to the headstrong director and his guerrilla cinema along the way. We can see the creative chaos at the heart of Godard’s process, which infuriated his producer and often perplexed those working on set. His script was “fluid” and he often cobbled together scenes on the fly. Some days, we filmed scenes that happened in Godard the day before. Other days, they spent time hanging out at a cafe while Godard played pinball waiting for inspiration.
The lack of structure becomes particularly frustrating for Jean who almost gives up on several occasions. But like everyone who worked on the film, Godard seduced her with his relaxed attitude and revolutionary spirit. These same characteristics are found throughout Linklater’s film. There’s an inherent playfulness to his approach and a laid-back tenor that recalls some of his best chill-out films. Yet there is also a clear respect, not only for the New Wave era, but for the process of filmmaking itself.
“New Wave” is undoubtedly a film made by a movie buff for movie buffs. It is difficult to guess the answer from someone who is not familiar with the French New Wave movement. But there’s plenty here for anyone who generally enjoys film history and the creative process. Linklater keeps things light and fluid while capturing the essence of New Wave style and purpose. Marbeck’s uncanny resemblance to Godard, Deutch’s effervescent charm, the stunning VFX shots that help recreate late 1950s Paris – it all contributes to this evocative love letter to cinema.
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