Godard in his most unbecoming mode: the unnaturally effervescent (effervescence, that is, at about one-tenth the requisite tempo). The occasion, or flimsy excuse, is a romantic triangle drawn in the style of a Hollywood musical. Equally competent and equally unselfcritical imitations are performed in front of bathroom mirrors the world over. Anna Karina, Jean-Paul Belmondo, Jean-Claude Brialy. (1961) — Duncan Shepherd
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