Jean Luc Godard’s first feature feels oddly like a swansong: in many respects the film seems a self-mockery of what it ostensibly celebrates – the new, the bold, the reckless; the 60s zeitgeist that resurrects the anguished ghosts of the 1920s, who, according to F. Scott Fitzgerald, grow up to “find all Gods dead, all wars fought, all faith in man shaken.” For the children of the ‘60s, their wars are of a kind in which the opponents constantly change roles: sometimes they are the unmerciful authorities bent on making miserable lives out of their inferiors; in other times they are the society at large, weeding out in its insidious and devious way the errant law-breakers. They all seem to be donning the same masks, through which the warriors recognise themselves. This fight with one’s inner demon necessarily evokes concerns of mortality and death - timeless concerns that acquire an added pungency in the 1960s: would a dangerous, unheeding spell of hedonism finally defy life’s in