Jean-Luc Godard's jazzy, highbrow homage to Monogram gangster movies, which of course it only remotely resembles; in fact it is nearer to being the Citizen Kane of the Sixties, if you measure it by reputation and influence and don't let its improvisational style obscure the comparison. It features Jean-Paul Belmondo as a two-bit Parisian thug with a rare aesthetic affinity for Humphrey Bogart, and Jean Seberg in a devastating portrait of An American in Paris, a not unique specimen of brat-bitch-bloodsucker. (1959) — Duncan Shepherd
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