Bande à part was directed by Jean-Luc Godard and was filmed in 25 days. Godard described it as "Alice in Wonderland meets Franz Kafka". The film is an adaptation of the 1958 novel Fools' Gold by American author Dolores Hitchens.
Band of Outsiders
(1964)Bande à part 10
" A Who-Dunit, Who’s Got-It, Where-Is-It-Now Wild One From That "Breathless" director Jean-Luc Godard!"
| Country | |
| Spoken Language | french, english |
| Runtime | 1 hr 35 min |
| Budget | $120 000 |
| Premiere: World | $194 933 August 5, 1964 |
| USA | $66 660 |
| Other countries | $128 273 |
| Box Office – Budget | $74 933 |
| Premiere: USA | $66 660 March 15, 1966 |
| first day | $5450 |
| theaters | 2 |
| rollout | 240 days |
| Production Companies | |
| Also Known As | The Outsiders United Kingdom |
Description
Two crooks with a fondness for old Hollywood B-movies convince a languages student to help them commit a robbery.Сast and Crew
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About the Book
The film "Bande à part" is based on the book Fool's Gold by Dolores Hitchens. This novel is a crime story that delves into themes of deception, greed, and the complexities of human relationships. The narrative is intricately woven with suspense and character development, making it a compelling read for fans of the crime genre.About the Author
Dolores Hitchens was an American author known for her mystery and crime novels. Her writing is characterized by its attention to detail and the psychological depth of her characters. Hitchens' work often explores the darker sides of human nature, and she has been praised for her ability to create tension and intrigue in her stories.Film Adaptation
The film adaptation by Jean-Luc Godard takes creative liberties with the source material, as is common in many adaptations. While the core plot and characters are retained, Godard infuses the film with his unique style, which includes unconventional narrative techniques and a distinct visual aesthetic. The film captures the essence of the book but presents it through the lens of Godard's innovative filmmaking approach.Key Differences
- The film emphasizes stylistic elements and cinematic techniques that are characteristic of Jean-Luc Godard's work, which may differ from the book's straightforward narrative style.
- Some character dynamics and plot points are altered to fit the film's artistic vision and pacing.
Production
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Friends comments and ratings
Three young Frenchmen grotesquely rob a country house, forming a love triangle. 7.5 out of 10. The film is famous for its title, which Tarantino used for personal purposes. And also the dance of heroes in a cafe.
A comedy that’s neither irritating nor captivating, with all of Godard’s experiments concentrated in a single café scene. I liked the concept of characters whose wills govern the entire film. It’s a shame it’s not enough; otherwise, the film is sometimes funny, sometimes tedious.
Someone once said, "If you have to prepare for a movie, it’s crap." And so it is. There’s too much context, and without understanding it, you’ll only praise the film under the pressure of the cultural masses. Without knowing Godard or 1960s France, it’s a boring mess.
What stupid people they are, sometimes to the point of disgust. But Godard’s triangle makes even them interesting. Although, first of all, it is Anna Karina’s character that carries the show.
The film doesn’t feel cohesive. At one moment the director gives a cool and atmospheric scene, and at another he brings such boredom to the unfortunate viewers. But still, the film hooked me with this combination of slowness and frantic energy.
The film tries so hard to be light and ironic. It even devolves into directorial heavy lifting at times. It has nothing substantive to offer, it’s gorgeously shot, but as a matter of taste, Godard’s renunciation of sincerity doesn’t appeal to me.
The story itself seems so monotonous, but not too much, and it is so tempting to listen to conversations that the very concept of the plot was moving in the right direction in the style of Godard and with all sorts of techniques it turned out to be well filmed.
In many ways it reminded me of Love is colder than death . And the name fits).
Godard commands respect for his independent stance and the creation of a new cinematic style, but one tires of the endless dialogue and longs for more action. The shabby locations are more realistic than the artificial image with its contrived standards of fashion, beauty, and refined French lifestyle.
There’s something touching and naive about this film. Despite the deaths, despite the (ridiculous) robbery, everything that happens on screen feels like some kind of teenage play on adult themes. And yet, it’s charming.
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