Abandoning the rough 'n' ready monochrome of the French New Wave features that made his name, Jean-Luc Godard embraced CinemaScope and Technicolor for this autobiographical take on Alberto Moraviaís novel, A Ghost At Noon.
But while Godard is content to muse upon such topics as art and profit, classicism and iconoclasm, language and image, he's far more concerned with exploring aspects of his own life.
The fact that Bardot twice dons a dark-bobbed wig during her protracted showdown with screenwriter husband Piccoli suggests this is really a scene from Godard's relationship with his wife and frequent star, Anna Karina. Moreover, it provides an embittered bookend to the flirtatious banter between Jean-Paul Belmondo and Jean Seberg in A Bout De Souffle.
This self-reflective reference finds echo in the frequent allusions to filmmakers whom Godard considers significant - notably Michelangelo Antonioni, Roberto Rossellini, Vincente Minnelli, Joseph L. Mankiewicz and Lang himself.
Co-produced by maverick vulgarian Joseph E. Levine (who insisted on the insertion of the Bardot nude scene, which Godard then subverted by having Piccoli itemise her body parts as if they were commodities), the film flopped on its initial release as audiences didn't understand it and critics considered it an act of betrayal.