There's an interesting expositional side to the film, with De Niro and Joe Pesci's characters both serving as interactive narrators, but the film never becomes very involving as drama, and the appropriation of Georges Delerue's theme from Godard's Contempt is the tackiest hommage since the use of “Singin' in the Rain” in A Clockwork Orange.
Stunningly shot by regular Godard collaborator Raoul Coutard (who also worked on Demy’s Lola and Truffaut’s Jules et Jim ), this apparent idyll is rendered suffocatingly sad by Georges Delerue’s iconic ‘Theme de Camille’, which was later pinched by Scorsese for Casino .
Adding to the dreamy atmosphere is Georges Delerue's monothematic score, a piece so achingly beautiful Martin Scorsese later used it to kick off his Casino over thirty years later.
Sometimes Godard eliminates the sound track entirely (except for the repeated motifs of Georges Delerue's score, which Scorsese recently used in Casino); in one sequence, at a noisy audition in a movie theater, he periodically turns off the ambient sound in order to let us hear the dialogue.
Finalmente merece la pena mencionar la música de Georges Delerue, quién ya había realizado por ejemplo el año anterior la música para “Jules et Jim” (1962) de François Truffaut, y cuyo tema en esta película de Godard fue recordado por Martin Scorsese en “Casino” (1995).