The film is minor ’60s Godard – which means it is automatically more interesting than most Godard from the ’70s, ’80s, ’90s, or 2000s.
The film is Godard’s fourth effort in widescreen and color, following A Woman is a Woman, Contempt, and Pierrot le Fou, and, like those films, it was photographed by Raoul Coutard – which means it is absolutely gorgeous to look at. You will see a lot of bright primary colors, particularly the color red.
The narrative is incoherent – even more so than The Big Sleep, one of its acknowledged inspirations. But at least it has a narrative.
Anna Karina (above, right) plays the main character, a Marlowe-like private investigator. Sometimes she wears a trenchcoat. The Danish-born Karina, often referred to as Godard’s “muse,” was one of the great stars of the 1960s. She also did fine work for Luchino Visconti on The Stranger and for George Cukor on Justine – two films I’d like to see out on DVD.
Godard experiments with camera movement and cutting in ways that call attention to themselves. This is a good thing.
The film is presently playing in New York. Maybe there will be a DVD release soon. I highly recommend it.