Movie total pnts rank Rank 1,149in 5,174 titlesTotal 4 / Deviation 50.95
Movie rank of 1960 Rank 8in 19 titles
Statics of evaluation and Ranking
Reviews' statics
Post review by myself
Graphic1.50(Very good)2
Voice/Actor1.50(Very good)2
Made me think50%1/2
Hot heart0%0/2
Shed tears0%0/2
Learned something0%0/2
Information about this title

Jean-Luc Godard Claude Chabrol
Francois Truffaut Raoul Coutard
Jean-Paul Belmondo Jean Seberg
Daniel Boulanger Jean-Pierre Melville Henri-Jacques Huet
Japan Released:1960/03/26(Sat)
Outside Japan :Released:1960/03/16
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The below reviews are translated automatically from Japanese ones. To post your review to English version, please click here.
2008/11/28 Good(+1 pnt) [Original Japanese review]
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The original is "shortness of breath".
Shooting and jumping with hand-held cameras and jumps.Cuts are distinctive, it is a typical work as Nouvelle.Virg, but now it is not necessary to talk about the novelty of the method and its influence in the film world.
Simply looking at the whole thing, it seems that the momentary and unrestrained energy runs out of control in the everyday situations where the character, the dialogue, the story, the way of development, and the deployment were fraying as well. As if I hate being bound, Michelle Poicard (Jean-Paul. Belmond) is speaking and acting first, thinking of being with Patricia Frankini (Gene Seburg) . For that reason Michelle 's lie is felt quite childish and cuddly enough to be truly crowded. I felt the stupidity of men there, and at the same time, I feel that backing of the empty world such as getting anything is done at the same time. In the play, Patricia chose "bruise" and Michelle chose "emptiness", but it seems like it is said that the system of women and minds' hearts is fundamentally different .
And, while Michelle murmured Michelle as "lowest" in the last scene, Patricia said "What is the minimum?" Her words which this interpretation is possible are very fascinating.

2013/05/01 Very Good(+2 pnt) [Original Japanese review]
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[good point]
A hero who constantly keeps pace with cigarettes.
Taking pictures in a car or talking to a heroine.
Unique shooting method, when I am cutting, camera work (especially when the depiction in town crosses especially in the crowd) and two people, it feels like Godard as expected.
Murder or stealing a car.
I hate France.
There seems to be a conversation with the heroine, and there is a scary thing, because I do not love about death, I talked only about myself, I mean meaningfulness and humanity is appearing in the script.
Thrilling in the second half, a snitch, etc, but the hero keeps calm by just saying bad things about the heroine.
Heroin 's self - conscious awareness is strong. I shake reporters and ask interviews with "Women's role in contemporary society" etc. In this era it is probably a highly conscious person.
A woman who deceives a man and a man who deceives a woman are spoken words such as which is bad.
[Bad point]
There is not much

[Comprehensive evaluation]
Never a heroine is described as a bad girl.

2015/02/19 Good(+1 pnt) [Original Japanese review]
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People like Oyama Oshara.
I think this is the true target of this work.

Contents are Michelle 's escape from Patricia where Michelle begins talking from the place to color the prey (car) with the newspaper in hand.

The first thing that gets a lot of attention is to take out a gun while rolling a stolen car and playfully, kill a policeman whose car has ceased to move,
Pull out banknotes inexpensively from women's wallet of acquaintance, contents of conversation understood as weirdo in one shot, riding in target elevator and elevator,
Miscellaneous actions by Michelle.

Besides, there are many pictures that you can see the extraordinary director like taking a picture of a car running from an angle diagonally upward, continuing to reflect the back of a walking woman and the back (climax) of escaping Michelle.

However, because there was no intention to sound a warning bell to society or to pursue entertainment in the work itself, it became content to show off the director's arm,
It is difficult for viewers to understand the goodness of the work.

Therefore, the evaluation is "good" close to "ordinary".