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Blog 5 French New Wave Public reception

The French New Wave is largely considered by critics today to be one of the most impactful and important movements in the history of cinema, not only because of what it represented for the nation, but also because of the elements and techniques it brought to the world of filmmaking.

The New Wave came about in France in the days following the end of the Nazi occupation, meaning, among other things, there was a deep desire amongst the people to reclaim their narrative and perception around the world, the world of cinema was one of the most popular vessels in which they did so. 

The French New Wave is known for breaking molds of filmmaking by leaving behind the traditions of French cinema in favor a new style designed to be more grounded and personable rather tha grant products of entertainment. According to Master Class, some of the popular strategies to achieve this were ditching studios, intentionally using more mundane, and often less engaging stories, and having complex themes with nuanced morals rather than a simple, straight forward message.

Alongside these changes were also more tangible filmmaking choices that stood out from French movies of the past. The most notable of these included improvised or unconventional dialogue, jump cuts, and nonlinear storytelling, all of which stray from the polished, perfected films from before. All of these choices are considered undeniably revolutionary today, but did the films that came out of this era always receive the praise modern movie fans hold for them?

Potentially the most crucial film of the French New Wave, Jean-Luc Godard’s Breathless, undoubtedly had its fans at the time, given the successful run it had and how popular it became.

However, it was not exempt from the criticisms that were aimed at nearly all of the new wave films. For example, The American Scholar’s Paula Marantz Cohen recalled in her review, her first viewing of the film back in 1969. She remembers finding the film and its story to be boring: a critique that had been used quite frequently by those of the time who opposed the changes of the New Wave. Cohen, however, did go on to sing the praises of some of the other non traditional aspects of the film, such as how the choices made in the production ‘demand interpretation’ from the audience, which, by extension, keeps the audience engaged, despite a seemingly boring or overly simple premise. Godard has historically noted the importance criticism and reception has for him. In addition to directing he has also worked as a critic. In an interview with Film Comment, he once said “I don’t make a distinction between directing and criticism.” In General, even though he may not apply each critique to his films or adapt or change his work, based on reviews he values the role critics and their ideas play in the world of cinema. Godard applied this mindset to the response to Breathless as he did to his other work.

In a later example of French New Wave cinema, Jean-Pierre Melville’s Le samouraï, reviews showed that critics may have evolved in their views of the new ways of the French New Wave. It was released seven years after Breathless, when many aspects of the new wave, though still unconventional, had become more common. With this, Le samouraï received widely, though not universally, positive reviews, often being praised for things previously thought damaging to earlier movies, such as simplistic characters and plots or stories that leave major questions unanswered. These notions closely resemble the reviews of the modern day. The Criterion Collection, specifically David Thompsan said “It doesn’t matter that the story is slight and unmotivated.” because “The movie can be followed” He further explains that each element of the film is crucial in fulfilling the view experience. Melville was known to have varied reactions to critiques of his movies. Much like Godard, he to some extent valued their words, but in some aspects, he was not interested in caving to them. For example, in regards to criticisms about the portrayal of the movie's setting, The Citron Collection quoted him as saying “I'm not interested in realism. All my films hinge on the fantastic.” Even though his films can feel largely grounded in the real world, Melville did not concern himself with details of the setting, such as outfits or accessories that match the time period.

Overall, the reception of the films of the French New Wave can largely be seen as a reflection of the time. The era arose after the end of a devastating time of war and occupation in France, and many of its neighbors; there was division amongst the people about return to a previous state of normalcy or starting a new way of life, and this division manifested itself in the world of cinema as well as other aspects of life. Thus, especially in the early days of the era, we see a portion of people and critics who do not align with the films of the new wave and the straying from tradition. However, there were also many people at the time, likely the majority, that did support the strides the new wave took for French cinema, and that support ultimately led the way for these changes to revolutionize mainstream cinema not only in France, but across the globe.

Videos on this topic

A breakdown of Melville's work in French cinema and its impacts both prior to and during the new wave:https://www.youtube.com/watch?v=zqDWINiEX2U 

A brief interview with Godard explain what his new wave work stands for/against and what the public takes from it: https://www.youtube.com/watch?v=zsCt6CySfx0 

A synopsis of the specific reasons behind much of the praise this era and its films received as well as how it shaped the future of cinema:https://www.youtube.com/watch?v=Ez_ARK60epw 

Significant Images:

Jean Pierre Melville(an established director at the time) making a brief appearance in Jean-Luc Godard's "Breathless" (arguably the most poignant film of the era)

Jean-Luc Godard and the cast on the set of "Breathless"

Melville's "Le Samouraï" using new color technology to its advantage through the use of varying wardrobes that contrast the backdrop

The Production company started by Quentin Tarantino named "A Band Apart" after the Godard film "Bande à part"

Sources:

Cohen, Paula Marantz. “The Potency of Breathless.” The American Scholar, 2 Mar. 2009, theamericanscholar.org/the-potency-of-breathless/.

---. “Le Samouraï: Death in White Gloves.” The Criterion Collection, 25 Oct. 2005, www.criterion.com/current/posts/391-le-samourai-death-in-white-gloves?srsltid=AfmBOopLMH40o5AB__d2lWX-vhp8rI4By5ygm5jc_i_mbm7N6aYlQTJX. MasterClass. “French New Wave Guide: Exploring the Origins of French Wave - 2024 - MasterClass.” MasterClass, 2020, www.masterclass.com/articles/french-new-wave-guide. 

Smith, Gavin, and Jean-Luc Godard. “Interview: Jean-Luc Godard.” Film Comment, 1996, www.filmcomment.com/article/jean-luc-godard-interview-nouvelle-vague-histoires-du-cinema-helas-pour-moi/.

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The Later French New Wave ("Le Samouraï")

A shining example of the later portion of the New Wave era of French cinema is Jean-Pierre Melville’s Le Samouraï. Released in 1967, the crime thriller follows a contracted hit man named Jef Costello evading capture from the Paris police after successfully completing his mission to kill the owner of a city night club. He is initially arrested among a group of suspects, but he is begrudgingly released by the police after the most crucial witness does not turn him in, leading both the police force and Costello to wonder about her motivations for doing so. For the remainder of the film, we see Costello using his extensive knowledge of the city to continually avoid capture and ensure those closely affiliated with him remain stable and safe. 

Much like the films of the early days of the New Wave, Le Samouraï is centered around a story and characters that do not align with standard or polished morals and values: a staple of the era. So many films to come out of this wave follow morally gray characters and complex themes about values and relationships. For example, bothe this film and Jean Luc Godard’s Breathless, both from different points of the era, follow a main character who is on the run from the law, while exploring the nuances of both the criminal life and methods of law enforcement in the city. In fact, to be even more precise, both films feature a scene in which the main female character defies authority by standing up to an interrogating police officer attempting to coerce certain information out of her. While this particular visual may be specific to these two films, the ideas they represent are emblematic of everything The French New Wave meant. 

In terms of evolution of the movement, one obvious difference is that new technology allowed the later movies, including  Le Samouraï  to be in color. In terms of content however, I noticed this film to be overall, more bold than earlier ones. There were more direct depictions of violence, such as use of firearms and intense physical combat. It was also bold in the way it told its story,  Le Samouraï  often goes extended periods of time with minimal or no dialogue, including the beginning, where no words are spoken for about eight minutes. Despite this, it still managed to be engaging due to its fast paced story, another evolution from earlier films of the time. 

Overall, I was surprised by this film given my knowledge thus far of the New Wave. I did not expect the quick moving story and the extensive use of show-don’t-tell through the lack of dialogue. I did ultimately enjoy the change of pace as these strategies brought a sense of freshness to the era without losing the big picture of what it stood for. 

Today,  Le Samouraï  also shares the largely positive critical reception that many French New Wave films receive. Just last year, Variety’s Peter Debruge named it as a contender for “the coolest film ever made” (Debruge). He also went on to praise Melville’s film making style, as well as noting how it paralleled some elements of American cinema. This sentiment was shared by David Thomson of The Criterion Collection back in 2005, praising the style and going as far as to say the boldness was “on the brink of absurdity” and how that ultimately works in the film's favor(Thomson). 

Seen here is a brief video essay from IndieWire that explains Jean-Pierre Melville’s background in film making, his connection to and influence on The French New Wave, and impact his films, specifically Le Samouraï, had on movies that came after it. 

Below are a few photos that I think best represent this film

This poster and many other used for the movie heavily feature weapons, making clear the nature of the movie.

The scene in which Jane(right) defies the law enforcement officer by refusing his threats of potential jail time to get her to change her story

A still from the crucial scene early in the film in which Valerie (the primary) witness does not give away Jef, setting the stage for the rest of the plot as well as the mystery element of the the film.

Sources

Debruge, Peter. “Critic’s Notebook: Sharper than Ever, French Crime Classic “Le Samouraï” Might Be the Coolest Film Ever Made.” Variety, 9 Apr. 2024, variety.com/2024/film/columns/le-samourai-the-coolest-film-ever-made-jean-pierre-melville-alain-delon-4k-restoration-1235964766/.

Thomson, David. “Le Samouraï: Death in White Gloves.” The Criterion Collection, 25 Oct. 2005, www.criterion.com/current/posts/391-le-samourai-death-in-white-gloves?srsltid=AfmBOopxYPT01rzkjlRdO7Mgi1uJj4WwEYNQbsZ4ZyFZxmM5tUX3Mcx6. Accessed Apr. 2025.

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The Influences of The French New Wave

Rising from the ashes of a French cinema suppressed by the invading Nazi regime, The New Wave of cinema in France that came about in the 1950s and 1960, went on to unveil some of the most inspiring material in film making with impacts that reach not only beyond the time period, but well beyond the nation’s borders. 

The French New Wave was spearheaded by young filmmakers of France, and occasionally its neighboring countries, who knew the current way of cinema had to be completely revamped. They rejected the standard traditions, as well as the influx of foreign films that took over in the days after the end of the occupation, and sought to replace the current state with one that aligned more with the modern French world. This translated into movies feeling more grounded in real life and relatable to the audience, often employing strategies such as less polished filming style, longer takes, or sometimes, simply working within a smaller budget using strategies such searching for filming location in place of professionally lighted studios and hand held cameras. The results that came of this in these decades went on to shape future cinema and film makers in undeniable ways. 

Firstly, the New Wave in France played a crucial role in kick starting the “New Hollywood” era in the United States. In times prior, indie movies were fairly rare and got minimal attention in the United States, with some exception, as they were often overshadowed by products released by major studios.1 However, the very foundation of the French New Wave allowed for independent movies to succeed. The nobler, simpler ways of movie making in France eventually gained popularity across the Atlantic and soon more independent American films were getting public attention, and some even winning awards. The impact of this era's film industry was incredible on a wide scale, but even more so on an individual level.

Some of the most iconic names in American film today cite the French New Wave and/or its most famous figures as their inspiration in Hollywood. Martin Scorsese has made his love of French cinema known throughout his career, dating as far back as his time as an NYU film student in the 1960s.2 One of his first instances of employing techniques from the New Wave was his use of Jean-Luc Godard's famous “jump cuts” in his early projects including his first feature film, Who’s That Knocking at My Door? , released in the late 1960s. Scorsese once said of Godard’s Breathless, “...it was the filmmaking itself that I connected with,” and Scorsese is not the only American director to mirror Godard in their work. Quentin Tarantino has also stated his admiration Godard's work in the film industry, saying he “revolutionized” its form.3 This inspiration is clear in Tarantino’s style through the use of improvisation, non linear stories and much more. Though the work of these two men may not perfectly mirror The French New Wave today, it is easy to say that films such as Goodfellas and Pulp Fiction would not be possible without it. 

Sources:

1  “How Did the French New Wave Influence American Cinema? - 2Bridges Productions.” 2 Bridges, 2017, www.2bridges.nyc/nycblog/french-new-wave-influence-american-cinema/. 

2  Guedj, Pauline. “Martin Scorsese, in the Wake of the French New Wave.” France-Amérique, 10 May 2023, france-amerique.com/martin-scorsese-in-the-wake-of-the-french-new-wave/. 

3  Ferrier, Aimee. “How Jean-Luc Godard Inspired Quentin Tarantino to Break Rules.” Far out Magazine, 14 Aug. 2023, faroutmagazine.co.uk/how-jean-luc-godard-inspired-quentin-tarantino-to-break-the-rules/. 

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French New Wave Blog 2 Jean-Luc Godard’s “Breathless”(1960)

If there is one film that is the epitome of what the French New Wave stood for it is Jean-Luc Godard’s “Breathless” from 1960. The film follows a young criminal named Michel Poiccard played by Jean-Paul Belmondo. Michel is on the run from the police in Paris after stealing a car and shooting a Policeman in Marseille. While evading capture, he reunites with the Love interest of the movie, Patricia, who is played by Jean Seberg. She is an American student seeking to become a journalist while in Paris. She hides him in her apartment during his run, though only semi-willingly. For much of the duration of the movie, she is unaware of the trouble Michel has gotten himself into. She only finds out when she is questioned by the police about his whereabouts, likely as a result of someone seeing the two together and tipping off the authorities. 

The scene in which she is confronted by the enforcement officer represents a shift in her role in the film as well as her dynamic with her environment. Prior to this, being in a foreign country, there was always some level of uncertainty within her interactions with the other characters. The officer assumes this of her in his confrontation. He speaks to her in a condescending manner about the information she may have on Michel, presumably preparing for an easy confession from a young, foreign woman. He even threatens her multiple times throughout the interactions: things as simple as ‘watch what you say’ to as far as potentially causing issues with her passport or work permit if she doesn’t turn him in.Though it is subtle, through changing tone and facial expressions, we see Patricia gain more confidence and become more sure of her answers as the interaction progresses. However, the scene also reflects her internal conflict as she is now stuck between protecting the man she loves and putting herself in legal trouble as well. 

In this article from The Criterion Channel in 2014, Dudley Andrew sings the praises of this film and its unprecedented nature amongst other French Cinema. Much of which is accredited to his ‘unapologetic’ way of filmmaking. Some of the elements perceived as definitively ‘new wave’ are questions left unanswered by the end of the plot as well as of modern, at the time, depictions of relationships between characters, especially between Michel and Patricia. The sort-of love story between the two leads directly contradicts the traditional standard of relationship and their role in movies from times before, in particular the inclusion of the main characters in the same bedroom, especially given the length of time the scene last, was a major part of breaking social barriers in film at the time. This sentiment is shared in this article from The Guardian. It calls Breathless a landmark film of the 20th century. It also delves a bit deeper in depth about Godard himself and his overall impact, saying he was “The chief exception” who was “truly radical and innovative” amongst all the French directors who debuted during the new wave. His impact is all the more impressive pertaining to this movie as it was one of his earliest works.

Video: An in depth breakdown of the production and editing style in Breathless and how it compares to films that came both before and after, followed by a brief interview with Godard himself in which he discusses his reactions to reviews of his movies:https://www.youtube.com/watch?app=desktop&v=OECnxhu78ao 

The Original French Language poster for the movie that uses bold colors and designs to represent the film

A still from the movie that visualizes the often inconsistent and unclear relationship between Michel and Patricia.

Sources:

First Article:

 Andrew, Dudley. “Breathless Then and Now.” The Criterion Collection, 28 Feb. 2014, www.criterion.com/current/posts/526-breathless-then-and-now?srsltid=AfmBOorp0_2pBf7eYb5VloXCkwxaS7MKgu-oloaVl1RZLQk6XYrEcnc4. Accessed Apr. 2025. 

Second Article:

French, Philip. “Film: 50 Years of Jean‑Luc Godard’s Breathless.” The Observer, 5 June 2010, www.theguardian.com/film/2010/jun/06/film-jean-luc-godard-breathless-feature-philip-french-french-new-wave. Accessed Apr. 2025. 

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The French New Wave(Nouvelle Vague) Basics

 The Post-Second World War State of France left the nation's people desperate for a new kind of media that brought a more accurate depiction of their everyday life to the big screen. Along with nearly every other aspect of life in the country, the movie industry had been largely decimated during the time of the war, as result the world of pop culture after the war, especially when it came to movies had become very sanitised and superficial. As a counter to this many French filmmakers in the 1950s and 1960s opted to pivot away from the film making for an approach that they believed better captured a true depiction of life.

The new techniques often centered around having a less polished and perfect seeming view. The films were made more relatable to the audience via changes such as removing cameras from tripods or stands and instead filming with handheld cameras to have a more grounded style of motion. They also employed more long shots that lingered on a certain scene or frame, allowing the feelings associated with it truly resonate with the audience, thus making the characters feel less out of reach than they had before. 

In terms of content, The New Wave saw changes in how plots were constructed within films. The era saw the use of non linear storytelling as well as fragmented editing. Both of these things do mean a lessening of direct explanation given to the audience, however, in turn it also means causing the audience to think more, as the logic is not a primary element. The confusion that comes about from these choices is yet another element that brought cinema closer to reality for the French people. 

There were numerous directors that played crucial roles in this movement, but the one considered to be ‘the father’ of it was Jean-Luc Godard. Though he was born in Switzerland, hsi mark of French cinema and pop culture in general is undeniable. He brought forward works such as “Breathless,” “Pierrot Le Fou,” and “Contempt”. All of which sport stories based in real world, relatable conflict whilst also touching on controversial social issues of the time. Godard worked consistently even beyond the time of the New Wave, even finishing his final project, a short film entitled “Scénarios” one day before his death in 2022, though the project was released in 2024. 

The work of Godard and countless others had an impact that spread far beyond the time and place they worked in. Many recent American filmmakers , most prominently Martin Socresese and Quninten Tarentino have accredited their inspiration in part to this revolution of filmmaking; The latter even naming his production company ‘A Band Apart’ after one of Godard's films. 

Overall, it is difficult to understate how important the French New Wave was to changing how cinema is viewed today: a vessel for human stories rather than a venue for blemish-free idealized principals. 

Alter, Rebecca. “Jean-Luc Godard, Father of French New Wave, Dead at 91.” Vulture, 13 Sept. 2022, www.vulture.com/2022/09/jean-luc-godard-dead-french-new-wave-director-was-91.html. Accessed 15 Apr. 2025.

Maio, Alyssa. “Watch: Directing Techniques of the French New Wave.” StudioBinder, 1 Aug. 2015, www.studiobinder.com/blog/what-is-french-new-wave/.

Tingley, Anna. “Best Jean-Luc Godard Films on Criterion.” Variety, 14 Sept. 2022, variety.com/2022/film/news/best-jean-luc-godard-films-criterion-1235372299/. Accessed Apr. 2025.

Vivarelli, Nick. “Jean-Luc Godard Finished Last Film Day before His Assisted Suicide.” Variety, 17 May 2024, variety.com/2024/film/global/jean-luc-godard-last-film-scenarios-trailer-producer-mitra-farahani-1236004498/. Accessed Apr. 2025.