Bando à Parte

I found this to be more of a film about film-making than a great piece of cinema in its own right. It started fairly slowly and was unlike anything that I'd seen before but at the same time it wasn't really going anywhere. I watched some of the extras with the DVD and I'm glad I did because it highlighted the camera work and score which is really all that I'd really picked up watching it. The dance scene was brilliant but aside from that I didn't really find much in the characters to hook me in. I understand from the extras that there was no script which I know isn't uncommon with other directors but it did play like that. There was some good interaction between the characters at times but overall the only real spark inside the film itself was the dance. More technical for me than anything else.

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.

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.

Band of Outsiders, from the novel by Dolores Hitchens, is a jazzy and poetic take on the modern crime film, with more successful sequences than I could have expected. Unlike in his debut, Breathless, here the characters - two young men Arthur (Claude Brasseur) & Franz (Sami Frey) and the young woman Odile (the beautiful Anna Karina) - are quite accessible (at the least watchable) to those who aren't used to Godard's treatments of his main players.

That, along with a style including artful but elegant and, in opposition, gritty and 'cool' cinematography by Raoul Coutard and a striking, upbeat musical score by Michel Legrand, gives Jean-Luc Godard the edge in creating one of the most influential films of the new-wave. Arthur and Franz are different personalities- you can notice the differences in the little moments- but they have a shared idea as being would-be petty criminals. Franz meets Odile in a writing class, and after much talk they hatch a plan to steal all the money that Odile's father has stolen from the government and kept inside her house. The film takes its time leading up to the robbery, which is like a two punch knockout that at first is astonishing and then following it by devastating.

What makes Band of Outsiders a great film is not just the last act, but that the lead up to it, the filler, is rather extraordinary in its good grace to keep the audience entertained even as they know they're watching an art film (a good analogy is that Godard narrates much like Cocteau narrated over Blood of a Poet, except that here it's over a crime instead of a series of surrealistic events). Such moments of note are the minute of silence (like in Week End's traffic scene the audience feels much like the characters amid the duration of the scene), the subtly light-hearted feel of the classroom scene, and most notably the Madison dance.

The Dance sequence, in which our three anti-heroes turn on the jukebox and give a dance number that immediately calls to mind as inspiration for Travolta and Thruman's number to Chuck Berry in Pulp Fiction. However, after seeing this number, I'm inclined to argue that the Madison is the better of the two. There are also little moments that are funny and/or fascinating, and they go to show there's more emotion in this triangle than would usually be found in any kind of conventional film-noir.

After now seeing four of his films (Breathless, Contempt, Week End, and Band of Outsiders), this is my favorite. A+ (on my first viewing)

Style over substance. It's an interesting approach to filmmaking, but it also stops the viewer from really caring about the characters. Director Jean-Luc Godard shows his talent for visuals and there are a number of scenes in the film that really stay in your mind. The story itself is not much engaging and there are no real thrills. What you will get is, perhaps, more of a reflection upon existence.