Richard Gere (American Gigolo and Days of Heaven) is electrifying as Jesse Lujack, a small-time criminal obsessed with Jerry Lee Lewis, the Silver Surfer and Monica (Valérie Kaprisky, Andrzej Żuławski’s La Femme Publique), the beautiful French exchange student he spent a passionate couple of nights with in Vegas. High-tailing it to Los Angeles to rendezvous again with Monica, Jesse steals a fast car and accidentally shoots and kills a highway patrolman. Now the most wanted fugitive in L.A., Jesse should get across the border to Mexico as soon as possible, but Monica leaves him breathless…
Co-writer and director Jim McBride (David Holzman’s Diary and Great Balls of Fire) and co-writer L.M. Kit Carson (Paris, Texas and The Texas Chainsaw Massacre 2) boldly set out to create an American version of Jean-Luc Godard’s groundbreaking debut Breathless and the result is a wildly energetic and imaginative neo-noir romance that has become a cult classic. The spirited supporting cast includes memorable character players John P. Ryan, Garry Goodrow, Art Metrano, James Hong, Miguel Pinero, William Tepper and Lisa Jane Persky. With its rockin’ and atmospheric soundtrack, candy-colored cinematography by Richard H. Kline (Body Heat) and production design by Richard Sylbert (Chinatown), as well as the uncommonly strong sexual chemistry of its leads, Breathless is truly a cinematic feast for the senses. Ahead of its time when released, viewers have finally caught up to Breathless and now it’s been restored in 2K from its 35mm interpositive and presented with an alternate ending that’s been unseen for decades!
directed by: Jim McBride
starring: Richard Gere, Valerie Kaprisky, John P. Ryan, Art Metrano
1983 / 100 min / 1.85:1 / English DTS-HD MA 2.0
Additional info:
Region A Blu-ray
New 2K restoration from 35mm interpositive
Booklet with new essays by Margaret Barton-Fumo and Cristina Cacioppo
Newly recorded audio commentary by Glenn Kenny
“Making Breathless,” a newly-filmed video interview with director Jim McBride
A Maverick And A Star Remake The Classic 'Breathless'
The New York Times
November 21, 1982
Quote:
Generally these American remakes of foreign classics have been poorly received, so Orion is taking a big chance in remaking ''Breathless,'' the cornerstone of the French New Wave and one of the most influential of all foreign films. Its improvisational acting, handheld camera work, jump cutting, and casual amorality inspired a whole generation of filmmakers. The critic John Russell Taylor once wrote that ''stylistically ('Breathless') marked a clearer, more decisive break with filmmaking than any other new director had at that time dared to attempt.''
Quote:
In any case, the new ''Breathless'' is not a typical remake concocted by agents and moguls. Although it stars one of Hollywood's hottest actors and was produced by Martin Erlichman (whose credits include ''For Pete's Sake'' and ''Coma''), the director and cowriter is Jim McBride, an American maverick who comes from the field of independent films. Mr. McBride made one of the few undisputed American underground classics, a cinema verite comedy about a selfabsorbed filmmaker called ''David Holtzman's Diary,'' in 1967. At its showing in 1973 at the Whitney Museum of American Art, Vincent Canby called that movie ''rambunctiously funny and wise.'' Mr. McBride has made a few other independent films (most notably, ''Glen and Randa'' in 1971), but he has never before directed a movie in Hollywood. He is the driving force behind the new ''Breathless.''
Quote:
After securing the rights from Mr. Godard, Mr. McBride and Mr. Erlichman made a deal with Universal in 1978. At that point Gary Busey was slated to star, but the deal fell through. Then Mr. McBride spent a couple of years trying to interest other actors, including Robert De Niro, John Travolta, and Al Pacino. ''They're all very good actors,'' Mr. McBride says, ''and they were very nice, but I found that movie stars are terrified that if they make one wrong move, it will destroy their careers. So it takes them forever to make a decision. Also, I think a lot of them were afraid to do the movie with me. I was an unknown quantity.''
Eventually Universal lost interest in the project and Orion took it over. Richard Gere signed to play the lead, but he, too, did not want to work with an unknown director. After months of dickering, Mr. McBride flew to New York and spent two days trying to convince Mr. Gere to make the film with him. Finally Mr. Gere agreed, provided that he could play a more active role in the production than he had played in any of his previous films; the star participated in rewriting the script, as well as in casting and hiring the crew. ''Richard and I have had many arguments,'' Mr. McBride says. ''Sometimes I win, and sometimes he wins. But he's never once used his position as star to win an argument; he's used his powers of persuasion. He's been a very important collaborator.''
One of my favourite movies so i've already banged in a pre-order for two copies
Oh, and just in case anyone in the UK was wondering if this will be released as part of our domestic Fun City Edition line - it won't. I already asked Fran at Radiance Films and he's confirmed that the rights are still with Second Sight in the UK.
On 14 Sep 1978, HR announced that screenwriter-director Jim McBride and writer L. M. Kit Carson were collaborating on the screenplay for an updated version of the classic French film, Breathless, (1961, see entry) to be photographed in Los Angeles, CA, beginning spring 1979, on a budget of less than $5 million. At that time, McBride was listed as director, Amy Ephron as producer, and Martin Erlichman as executive producer. McBride received permission to adapt the film from director Jean-Luc Godard and writer François Truffaut, who collaborated on the original. A news item in the 28 Nov 1978 Var stated that actor Gary Busey was “interested” in the lead role, but two days later, the 30 Nov 1978 HR reported that Robert DeNiro was being considered by Godard to star in the remake. On 18 Dec 1978, HR correctly credited Erlichman as producer and Universal Pictures Corp. as distributor.
McBride explained in the 19 Nov 1982 DV that the screenplay was rewritten to suit Busey, who was to play protagonist “Jesse” as “a sort of redneck character.” When McBride was unable to reach an agreement with the actor, Universal recommended DeNiro for the role, who was working on the film Raging Bull (1980, see entry) at the time, and waited six months before refusing the part, after which Universal rejected the project. Orion Pictures Company was willing to supply financing, and there was interest in the lead role from actors John Travolta and Al Pacino, but all took issue with McBride, who had only directed low-budget, independent films to date. McBride’s agent, executive producer Keith Addis, advised his client to defer to new distributor Paramount Pictures Corporation, and relinquish the role of director to Franc Roddam. Paramount also chose Richard Gere as the film’s star, but the studio soon abandoned the project, as did Roddam, who was committed to another picture. According to production notes in AMPAS library files, McBride flew to New York City to obtain Gere’s commitment to the project; they were later joined by Erlichman for a meeting with Orion executives, who agreed to finance the film. Gere collaborated on the final draft of the screenplay, and accompanied McBride and Erlichman to Paris, France, where they auditioned actresses for the role of “Monica.” DV reported that Valerie Kaprisky was selected from 150 candidates, though she was one of only fifteen who personally auditioned for the McBride, Erlichman, and Gere. In the production notes, she described her audition as “awful,” as she did not have time to memorize her lines, though she won the role after being allowed a second chance the following day.
Production began 2 Aug 1982 and ended eight weeks later. Locations included the Los Angeles neighborhoods of Venice Beach, Hollywood, Downtown, and Westwood, which included the campus of University of California, Los Angeles (UCLA). The cities of Santa Monica, CA; Beverly Hills, CA; Palmdale, CA; and Las Vegas, NV; supplied additional locations. Some interior filming was performed at Zoetrope Studios in Los Angeles. McBride was quoted in DV describing the role of Los Angeles in the film as “a secondary character.” Another location, mentioned in a 21 Nov 1982 NYT article, was “The Pines,” an abandoned hillside estate in Hollywood where the final scenes were photographed. The property was later acquired by the Los Angeles Department of Recreation and Parks, and opened to the public as Runyon Canyon Park. As photography drew to a close, McBride admitted that he was “terrified of the critical reaction,” but was happy to be working again. The article listed actress Karen Black among the cast members, but she is not credited onscreen.
The 4 Feb 1983 HR announced that the release of Breathless would be postponed until Friday, 13 May 1983, because “a few minor detail scenes were reshot,” and postproduction was incomplete. Release was originally scheduled for 4 Mar 1983. The film opened in 1,100 theaters nationwide to mixed reviews, several of which compared it unfavorably to its source material. However, the picture grossed $4.4 million during its opening weekend, according to the Jul 1983 Box.
A news item in the 20 May 1983 LA Weekly revealed that the nightclub set in Breathless was modeled on a Los Angeles nightspot called “The Garage,” which was studied by members of the production team prior to filming. Club owner Steven Tosh was reportedly angered over receiving no credit for his contribution.
Composer Phillip Glass and his publishing company, Dunvagen Music Publishing, Inc., filed a suit against Orion Pictures, Erlichman, and several other entities in early Jul 1983 for their “unauthorized use of his music” in the film, as reported in the 19 Jul 1983 NYT. The composer sought actual damages in excess of $1 million and punitive damages in excess of $2 million, charging the defendants with “copyright infringement, unfair competition and fraud.” According to Glass, The Clearing House, Ltd., and Ronald H. Gertz solicited permission to use one of his compositions from the album Glassworks as “incidental music” for the film in 1982. Permission was granted on the condition that the musical sequence be only two minutes in length, would retain its original arrangement, and “be heard in the background as if coming from a radio.” However, Kurt Munkacsi, who co-produced the album, stated that the producers chose a seven-minute sequence from the solo piano piece “Openings” and made it a recurring musical theme throughout the film. Glass was offended by the orchestration of his work, which he described as “mawkish” and “sentimental,” and felt that he received inadequate credit. An undisclosed monetary settlement was reached between the parties, reportedly in the “tens of thousands of dollars.” In addition, all future domestic and foreign prints were required to include a detailed credit for “Openings.” However, none of the defendants admitted any liability in the case, and claimed that they reached the settlement in order to avoid “potential interference” with the film’s distribution.
End credits include the following statements: “Principal theme based on ‘Openings’ by Phillip Glass from the CBS Masterworks album ‘Glassworks’”; and “’Silver Surfer’ character is a trademark of the Marvel Comics Group. All rights reserved. All artwork is courtesy of the Marvel Comics Group.”
Was just thinking about this flick the other day and how I'd consider it a top-5 80's "L.A. Movie." This release will blow the bare-bones Shout disc out of the water. Pre-ordered!
The Second Sight release has two supplements that won't be on the FCE disc:
Quote:
Still Breathless - in this new video interview, actress Valérie Kaprisky remembers how she was chosen the play the character of Monica and what it was like land in Hollywood and work with her star partner, Richard Gere. There are also some very interesting comments about the shooting of the lovemaking footage and the film's sense of humor. The interview was conducted exclusively for Second Sight. In English, not subtitled. (12 min).
Mark Kermode on Breathless - in this new program, critic Mark Kermode discusses Breathless and its style. The program was produced exclusively for Second Sight. In English, not subtitled. (25 min).
"The framing of this film has varied over the years; the DVD featured a lot of extra room at the top and bottom but lost quite a bit on the sides, while the Shout! Factory disc was an okay release at the time with the 1.85:1 framing looking fine throughout while cropping out some nudity viewers had grown accustomed to seeing over the years on cable, VHS, and DVD. Whoever supervised the new scan for Fun City was obviously aware of that fact since the 1.85:1 framing stays intact here but, a Code Red-style move, shifts down during some of the nude scenes with the two leads to give you the full celebrity skin experience."
while the Shout! Factory disc was an okay release at the time with the 1.85:1 framing looking fine throughout while cropping out some nudity viewers had grown accustomed to seeing over the years on cable, VHS, and DVD. Whoever supervised the new scan for Fun City was obviously aware of that fact since the 1.85:1 framing stays intact here but, a Code Red-style move, shifts down during some of the nude scenes with the two leads to give you the full celebrity skin experience.
Funny, but I don't remember feeling shortchanged by the SF in terms of skin.
Maybe I'm just getting older.
The New FCE handles highlights better, but I think I like the overall darker look of the SF more. They did put together a nice suite of extras, though.
I'd be more enthused about an upgrade for this if this year wasn't already weighted so heavily with them. 17/20 of the purchases I've made, or that I plan to make, are upgrades of Bds I already own. Either a 4K, better packaging, or slightly better transfer.
I've gotta start drawing the line...
yea the new 2k from the IP is not really that much of an upgrade over the SHOUT version going back and forth on the pics from the MONDO review. Was hoping it would be a bigger difference. Any one else want to take a peak at the screenshots and provide their opinion?
The alternate ending and deleted scenes would make it a must buy for me even if it didn't have a new 2K restoration. There was a well-known promotional picture of a scene not in the movie that has to be what is included in the alternate ending on the blu-ray. It will be nice to finally see it. Hopefully Vinegar Syndrome will ship my order soon
All countries
Argentina
Austria
Belgium
Brazil
Bulgaria
Chile
China
Colombia
Cyprus
Czech Republic
Estonia
Denmark
Finland
Greece
Hong Kong
Hungary
Iceland
Indonesia
Ireland
Israel
India
Latvia
Lithuania
Malaysia
New Zealand
Norway
Philippines
Poland
Portugal
Romania
Russia
Singapore
South Africa
South Korea
Sweden
Switzerland
Taiwan
Thailand
Turkey
Ukraine
United Arab Emirates
Breathless (1983) coming from Fun City Editions
Linear Mode
