“I want to become immortal and then die:” More Breathless Discussion

Part two: Death and Karina

This is second section Ben and I look at Breathless in relation to Godard’s beliefs as an existentialist and how that contributes to a discussion about death in both a Sartre-ian and Heidegger-ian sense. Also, we then look at the film as the only standing Karina-less film: Breathless stands before the rise of his muse and his infamous love affair.

Ben: since we are on the topic of death...a while back i was going to say three things that make breathless lovable: the first was postcard Paris, the second I think is the existentialist aspects of it
particularly its fascination with death… I hate that word… and most of the time it is ascribed to films, like Bonnie and Clyde or something, I think it doesn't fit
Monica: existentialist?
Ben: but this movie is really "existentialist" in a few senses
Monica: right, its like his ode to Sartre and i think it comes from a much more sincere place than most "existentialist" films
Ben: not only Sartre, but mostly Heidegger I think: Michel realizes that death is his only "own most" possibility that is his or films labeled that. He asks Patricia does he? "Do you think about death...I think about it all the time.” And the film begins and ends with death. it is him struggling to create a new identity with knowledge of his own most possibility of death…and Patricia's musing about the relationship between happiness and freedom is right out of being and nothingness as you suggested earlier.Is this then seen by his unwillingness to flee in the end
Monica: right
Ben: He wanted it all or nothing and since he couldn't have it all. He took nothing
Monica: I am not totally following, because I feel like all of that is because of his loyalty to Patricia
Ben: right
Monica: His failure, that limits the individualization of his death, was in completely identifying himself with another person and not with himself. That is why he had to die. He’s not being towards death, he’s being towards love
Ben: Right,
Monica: That is why he is an inauthentic character.
Ben: Why?
Monica: I mean I can name a number of reasons, but they have nothing to do with what we are discussing. An existentialist hero much recreate themselves and their value system and be a true individual. His identity is wrapped up in someone else, Bogart, etc. and the woman. He is never an individual then she is the existential hero. She refuses to be rapped up in someone else
Ben: But she has no authentic identity, her values conflict. She spends much of the film confused
she helps him steal the car not understanding the potential of her identity. And she prostitutes herself for her job. That is not very authentic
Monica: The ending then is her realization of her individuality. She says she’s confused through out, constantly
Ben: I don't think so, She did it out of fear. To keep her passport and she ran after him in the end even then we get the sense that she regretted it
Monica: Please allow me to be feminist sir: does she regret?
Ben: she runs up holding her heart
Monica: Its all a matter of how we are reading her, because I find her empowering
Ben: Lets do a thought experiment: could you imagine Karina playing Patricia?
Monica: no
Ben: Its funny that Godard's two most well known films don't have Karina, this and Contempt. Why not though? The answer may reveal something
Monica: The first thing that comes to mind is because Patricia is more thoughtful
Ben: But Karina waxes continental with the philosopher in the cafe in my life to live? But in a way I guess you are probably right though. Her character is usually a lovable klutz
Monica: Karina as a persona is the girly girl, even when not playing dumb she’s the beauty, the object of lust
Ben: right, there is no coincidence that she is twice as attractive as Seberg. She is more idiosyncratic though than Bardot
Monica: Patricia while Michel keeps trying to sleep with her, is not discusses as the beauty, she’s discussed as something else. She is the "funny" one
Ben: but I feel like Karina is like that too
Monica: But Patricia talks about how there are prettier girls than her etc
Ben: Right but he prefers her to the pretty girls
Monica: But it’s not that way with Karina. With Karina, the camera gazes at her,obviously because Godard was in love with her. So she’s always the prettiest one, even if in reality she’s not
Ben: That’s probably right…also back to the subject of death. Patricia is going to get an abortion, another subtext of death