Jean-Luc Godard's film begins promisingly with an interesting segment where the three faces of the main characters are edited together in a rapid-fire repetitive sequence. But the vibrancy and the fascination the film holds for us almost ends there.

Godard soon gets bogged down in a film that is almost about nothing. He makes fun of film and of theater in a elongated and frustrating sequence where a woman reads pieces of "Romeo and Juliet" aloud. As if this film had anything to do with that famous work. Instead, Godard brings us a tale of three jittery and unusual young people who decide to rob one of their landlord/employers. Godard is more concerned with making elusive commentaries on film, filmmaking, isolation, sex, ennui, America, and Hollywood then he is on telling a story. Godard's elliptical and subversive nature has plot subjugated to dialogue loaded with ennui and supposed meaning, goofy new wave slapstick antics and cinematic trickery. It is the later that gives the film it's most interest.

Godard's finest moment in "Band of Outsiders" comes in a sequence set in a cafe. In this segment, the director plays with sound (and lack thereof) in film. He also brings us one of the most spectacularly unusual and intriguing dance sequences ever shot on film which also plays (quite amusingly and effectively) with sound. Sound means a lot in this film and Michael Legrand's interesting and effective score is used in quite unusual ways here. Mainly, the film often cuts at the music, accenting the film in a jarring manner at many times. Godard's usage has less to do with budget and technical abilities of the time than it does with atmosphere and accentuation of his film.

On screen, Godard's three leads all have some interesting qualities but it is Anna Karina who steals the show as Odile, the female of his trio. Her innocent waif suggests that she might be an ingenue if only the character knew how. Her wide eyed innocence and beautiful facade give us much to like in the film. Through her, we can experience what little plot there is with the same sort of bewilderment and naivete (at times not so competently hidden by phony vibrato) that she does. Conversely, Claude Brasseur makes us weary and upset with his Arthur character. His bullied and bullying character, like Godard's film, is both likable and infuriating. His character provides all the tension that is necessary to carry out the shoestring plot here. Finally, Sami Frey interjects some whimsy into the piece as Franz. Unfortunately, he becomes the third wheel in the film (and the plot) only to be handed a rather unbelievable conclusion. Godard is trying to make a statement, of some sort, about people who emulate gangsters from American movies, but most of this gets lost in the character's overwhelming nonchalance. Like the characters, we have a hard time distinguishing what is real emotion and what is emulation of Hollywood film's emotion.

If "Band of Outsiders" is a typical film from the so- called French new wave, I don't think I can stomach a lesser work in this genre. Give me good old German expressionism anytime.

Note:

In French with some English. Condition of print is poor at points on some releases. Subtitles in white are often difficult to read)

Script by Godard is based on the American novel "Fool's Gold" Dolores and Bert Hitchens. The script mentions Shakespeare, Jack London and Thomas Hardy

Narrated by Godard. Is that him in a cameo asking the English teacher how to say "million dollar film?"

Filmed mainly in Paris.

As in many of Godard's film, the dialogue during the robbery sequence is improvised.

Karina was Mrs. Godard throughout much of the 60's.

Review written in 1998

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