Reminds one that, along with, say, Paris Belongs to Us, and the Tiger films by Claude Chabrol, that there is an unheralded sense of the Cold War in some early New Wave films, eventually and quickly overtaken by Vietnam, May 1968, and other political, international, and national concerns. But this film is still an oddity, even in the Godard canon, and can be grouped with Les Carabiniers in a category of films whose styles and tones are often forgotten when talking about Godard in the 1960s. While that film is caustic and bitter, this one is grave, subsumed by its spy game atmosphere of automotive threats, fear/danger of photography and audio (so ironic this was banned for an audio/radio reference to…