The DSG gearbox is very responsive, too – despite the occasional lurching downshift – with a crisp shift action from the aluminium paddles.Īim the blunt nose at some corners and the R32 can’t shake its slightly ponderous, heavy-handed feel, but it’s effortlessly fast. There’s a smooth, linear intensity to the performance, and while it never reaches a scintillating crescendo, the cultured bellow as the revs rise is a sure-fire indication of six, rather than four, cylinders. Its 237bhp output hits surprisingly hard against the R32’s 1,510kg mass, and at high revs, the way it instinctively picks up is a delight. It’s a hefty unit slung over the front axle, but the 15-degree V6 cleverly uses a single cylinder head, and it’s not short on grunt. Of course, the R32 is characterised by its engine. Even with the recent onslaught of hulking, four-wheel-drive mega-hatches, the spec sheet reads just as favourably as it did 20 years ago, with a narrow-angle 3.2-litre V6, DSG gearbox and a Haldex four-wheel drive system delivering power to the road. This scene in particular is a tribute to his dedication to his cause.The original R32 set out the formula which the rest followed. ![]() One again, we see Godard go to extraordinary lengths to achieve a spontaneous and organic performance. As it turns out, every person who strolls down the street, walks in front of the camera, looks at the two actors, and in one case, even tries to sell them a record, was totally natural. Learning this after the scene had already made a first impression had a much more powerful effect than if I had known beforehand. It was only after I had seen the film that I learned that this particular scene was actually filmed with a hidden camera. I must confess that I have withheld information about this scene, though. This final jump cut is perhaps the most unnatural of all the jump cuts in the film, as it breaks the 180 degree rule, cuts from in-front-of-and-below the actors to a rooftop far above them and is accompanied by blaring jazz, making us aware of the lack of music beforehand. Finally, almost as a bookend, Godard has Michel leave the frame, and then jump cuts to Patricia running over to him. The camera movement slows, and the actors approach, eventually stopping with the camera tilted up at a sharp, unnatural angle to capture their interaction. Now, Godard has the audience anticipating a continuation of the traditional shot, but gradually returns to his own style within the same take. This is a more natural shot from a traditional cinematic perspective. The camera tracks backwards, now, and follows the actors as they move forward. He has the actors turn around, and he reverses the shot – still within the same long take. Godard reinforces this idea by creating a contrast. It is unnatural from a cinematic perspective, but natural from an organic perspective – in that, if we were there, actually witnessing Michel and Patricia’s exchange, this is how we would see it. We can tell that it is shot by hand because the camera shakes with each footstep Coutard takes. The frame is slanted, and the subjects are uncentered. ![]() ![]() ![]() However, this long take is drastically unlike those of which we are typically accustomed. Then, Michel enters the frame, and Godard begins his long take. He inserts music at very noticeable times, which reminds the audience that his movie is nothing more than an assemblage of pictures and sounds. However, we receive the three vignettes entirely out of context, and it is jarring.Īs Patricia walks into the frame, typically romantic “French” music begins to play. Normally, the establishing shot in the office would have lingered, and we would’ve seen transitions between locations. These three rapid jump cuts are a perfect example of Godard executing his mission to dismantle traditional cinema. This lasts no more than a few seconds, and is followed by yet another jump cut to Patricia walking into the road. It is almost instantly followed by a jump cut to another street corner exchange, featuring Michel and a complete stranger, who answers in Frenglish. I believe that the scene in which Michel and Patricia meet for the first time includes some important examples of New Wave technique.įirst, we have the establishing shot in an office, which, in typical “Godard” fashion, immediately ceases to be any sort of establishing shot. To better illustrate the particular trademarks of Godard’s style, I’ve chosen a scene from the movie to analyze.
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