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Le Petit Soldat (1960)
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Reviews Counted:10
Fresh:7
Rotten:3
Average Rating:6.4/10
Runtime: 88 mins
Genre: Foreign Films
Synopsis: Jean Luc Godard's follow-up to his Nouvelle Vague landmark and debut feature, BREATHLESS, LES PETIT SOLDAT was originally banned in France because of its frank depiction of the Algerian War, which... Jean Luc Godard's follow-up to his Nouvelle Vague landmark and debut feature, BREATHLESS, LES PETIT SOLDAT was originally banned in France because of its frank depiction of the Algerian War, which was tearing France apart at the time of the film's completion. Michel Subor stars as Bruno, a hitman under contract by the French government who suddenly develops a conscience and a philosophy when he is ordered to kill a left wing Arab leader. His newfound ideals are provoked by the stunning Veronica (Karina), a young woman who is secretly employed by the Arabs. The two fall in love, and, not surprisingly, Bruno finds it impossible to carry out his mission, bringing down the wrath of the French government on both he and Veronica. Beautifully filmed by Raoul Coutard, LES PETIT SOLDAT is less interested in the mechanics of plot as it is in providing Godard a voice for thoughts and musings on the politics and horrors of the Algerian War. [More]
Starring: Michel Subor, Anna Karina, Laszlo Szabo
Starring: Michel Subor, Anna Karina, Laszlo Szabo
Director: Jean-Luc Godard
Director: Jean-Luc Godard
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Reviews for Le Petit Soldat
Gradually it becomes clearer that, starting with Le Petit Soldat, Godard was forging his own individualistic art and becoming the most relevant director of our time.
ubor's contemplative voice-over and Raoul Coutard's somber cinematography make this seem severe compared to the jazzy exuberance of Breathless.
Le Petit Soldat is far more confusing than Breathless, jumping in and out of scenes without letting the audience get a grasp on the narrative.
Looked at in the context of Godard's later, militant work, this film's analysis is at once naive and fascinating.
A lean and witty piece of politically engaged filmmaking that combines all the drive of a thriller with Godard's own, singular, New Wave aesthetic.
Godard is most clear in showing that the Left and Right are two sides of the same coin.
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