Die Außenseiterbande

This is a very rich and entertaining work. The plot revolves around two men and a woman who decide to rob the employer of the woman's aunt. However, Godard uses this slender plot as an excuse to riff on a wide spectrum of subjects. The would-be criminals run around, dance, recite newspapers stories to each other and have pretend shoot-outs.

This film is a lot of fun. Watch out for the celebrated dance sequence in the cafe and the scene where the three hold a minutes silence and all the noise on the soundtrack is cut off for the duration.

Acting wise, the film is stolen by the lovely Anna Karina (who was Godard's wife at the time) as the sweet, vague woman at the centre of the trio. Godard himself does the voice-over narration relating the story.

Filmed on the cold, de-glamorised streets of urban Paris, the film has a spontaneous feel that adds a lot to the exhilarating feel of the whole work.

This film is a charming, fun and suspense filled picture from one of the world's most interesting film-makers.

With this film Godard returned to the (petty) crime genre and his fascination with American pop culture. Odile (Karina), Arthur (Brasseur) and Franz (Frey) meet in an English language class and become friends. When naive Odile tells them she lives in a house where a large amount of money is cached, their imagination runs wild. Fantasizing and discussing Hollywood B-movies and pulp literature, they decide to rob the house with the help of Odile.

Godard goes to even further extremes in "violating" traditional storytelling with his voice-over narration, giving the viewer information during the action and letting his characters talk to the camera. It might not be Godard's most innovative release, compared to let's say BREATHLESS, CONTEMPT and TWO OR THREE THINGS I KNOW ABOUT HER, but is probably more entertaining and accessible to modern audiences than almost any other pre-1970 film he made (his later work is difficult to grasp for any audience). In the case of CONTEMPT audiences might have flocked to the cinemas because of Brigitte Bardot's presence, but besides BB-devotees, that's hardly a recommendation now. But this one generally is an entertaining and insightful film, with the dancing sequence in the bar justly memorable, as is the 9-minute tour of the Louvre.

Still, essential for movie buffs. Godard even credited himself as Jean-Luc "Cinema" Godard. Quentin Tarantino paid tribute to this film naming his production company A Band Apart.

Accessible Godard! Between the more famous "Breathless" and "Alphaville.." Godard wrote and directed this gem of French chic. The story is straight out of the tabloids, a love triangle of misfits who band together briefly but end up making a mess of things. But their moments together are oddly fascinating particularly an infectious dance sequence as all three do the Madison. It's worth watching the movie for this scene alone! The leads, including Jean-Luc Godard partner Anna Karina, are young and charming and their quick dialogue keeps things light. Yet the viewer remains detached throughout and ultimately is left with a sense of surrealism. A wonderful example of French "new wave" cinema, "Band a'part" is a delight. Voyez!

Odile has made new friends at English lessons, after making a faux pas, an indiscretion, telling them about a stash, of a great big pile of cash, it's become Arthur's and Franz's new obsession. Now they're conjuring a plan to grab the dough, it's unsecured, and in a place Odile can show, but she's having some concerns, struggling to come to terms, so she voices her unease, to let them know. Alas the plans for burglary do not run well, as barriers unknown block and repel, it's a comical affair, leads the combo to despair, the execution was quite poor, I think that's fair.

It still views well, but you need to digest it with the era in mind, alongside the other material the director produced around then, taking into account the unique style of his presentations.

Apart from perhaps being a satire of gangster movies, the point of this film eludes me. Two guys and a young woman plan a robbery at the Paris house where the young woman lives with her aunt. The young woman is naive and constantly scared. The two young men are seemingly rather ordinary. I didn't find any of these people interesting. We never learn much about them or what motivates them. Yet, given that this is a "New Wave" film I doubt that characterization was all that important to the film's director.

The plot starts out okay, but then meanders, and then becomes increasingly silly and unbelievable. Maybe that was intentional. Midway through, the three main characters suddenly, and for no reason, burst into a dance called the "Madison", the steps to which are nothing if not annoyingly repetitive. This bouncy little interlude goes on for some time, yet it has absolutely nothing to do with the story. Again, maybe that's the point.

Other gimmicks are inserted gratuitously, evidently to shock 1964 viewers into the realization, consistent with New Wave doctrine, that the film is not a product of the dreaded classical Hollywood narrative style of film-making.

But the worst element of this film is the sound. Background, ambient noise is amplified; why, I don't know, except, again, as some counterpoint to standard Hollywood films. Yet, the noise in "Band Of Outsiders" is so distracting, even grating, it takes away from what little value the visuals and narrative may have.

B&W cinematography is unremarkable. Lighting is low-contrast. Visuals trend toward grayish, pallid tones. Production design, in keeping with low-budget film-making, is plain, even cheap looking.

As a daring and iconoclastic attempt in 1964 to provide an alternative to stodgy, old-style Hollywood film-making, Godard's "Band Of Outsiders" probably does have some historical value. But what was visionary then seems campy and trite now.