Existentialism and "New Wave" In 1960, when Jean-Paul Sartre’s irrational theory of existentialism was at its peak, another Jean-Paul, Belmondo, starred in two films that in practice demonstrate the philosophical theory of the idol of youth and students of the 60s. These are Jean-Luc Godard’s Last Breath and Jacques Dupont’s Entertainment. From the point of view of today, directors are completely different levels, but their films are quite comparable. The difference, perhaps, is that "Entertainment" is more specific, that is, less irrational. And there is some deviation from existentialism.
And the commonality of films is that the characters from the very beginning fall into a critical situation, and this fits into the philosophical theory. Only in Godard the hero Belmondo gets into this situation by chance, and in DuPont voluntarily, according to the laws of honor, saving a friend. Although one may object - a friend also gets into this situation, but, like Godard's hero, involuntarily.
Frapier (Jean-Paul Belmondo) and Porte (Claude Brasseur) - two friends-paratroopers who have passed Algeria, meet again in peaceful life. Porte, after stealing a car, involuntarily becomes the culprit of the death of a policeman. Frapier helps him escape and gives him shelter. He realizes that he has become a participant in a deadly game.
In addition to the main plot, there are parallel ones related to the love adventures of Belmondo, which, in my opinion, makes the film more optimistic. Heartthrob, he seduces every girl around, and one of them (abandoned Alexandra Stewart) is really in love with him, and he doesn't care, and this should be understood as an expression of the cult of youth.
More attention deserves the hero of Claude Brasser, in which the existential is most acutely manifested: a tortured fighter of the dirty Algerian war, “worked material”, who was unlucky in life. If the script had focused on him, the film would have deserved a higher rating from critics, but most likely would have been less box office.
In the 1960s, Jean-Paul Sartre was at the height of fame. He became an idol of students, criticizing social institutions, accusing the law enforcement system and laws of infringing on human freedom. In 1964 he refused the Nobel Prize, and four years later he refused the prize at the Sorbonne. During the 1968 riots, it became a symbol of student protests. The philosopher was arrested, but soon released by order of Charles de Gaulle.
But what's more important to us is that Jean-Paul Sartre was a big influence on film. Obviously, the “new wave” came about thanks to a great philosopher. And those directors who caught this fresh breath became the conductors of the new.
8 out of 10