Breathless is without question not only Godard's, but also the 'New Wave's most renowned and discussed film. To explain why this is the case is not as simple as it seems; since the film has a many-layered structure that can reshape itself according to the viewer. The viewer is able to find differing parts to focus on, in relation with his interests. It is such that even as, for a cinema enthusiast, the fact that the film was structured as a parody of the Gangster films of 40's Hollywood is more important; for a film theorist, its improvisation technique, the jump cuts (which were regarded prior to that as an error in editing) it uses as a component of narration and the self-awareness that constantly reminds the viewer that it is a film, could be of more significance. On the other hand, the average viewer could love Breathless just for the camera wandering in the Parisian streets or the free but aimless relationship between the characters performed by Jean Paul Belmondo and Jean Seberg. With that perspective, one is unconsciously answering the question we asked at the very start; "Why this film?" Breathless, is a film that liberates cinema from the burden of being integrated in every aspect. Till then, with the effect of Hollywood cinema, every element that composed was part of the film, was functioning for the whole; With Breathless, the elements could exist for their own sakes. Sound, light, cast, camera, etc. were structured such that they could be extracted and then scrutinized. Contrasting with Hollywood, these elements were used not to complement one another but to conflict with each other, so that no synthesis was possible. Even if one would not take into account what was written here, Breathless is a film worth viewing, even if only for the recognition of where cinema is today. Nadir Öperli
