Sightlines · how to watch
How to watch Breaking Away
1979 · Peter Yates · Breaking Away on Sightlines
5 things to watch and listen for on a first viewing, without spoilers, and 4 more once you have seen it. Each names something you can see or hear, the pattern it belongs to, and what noticing it gives you. How these keys work.
On a first viewing
Listen for Dave slipping into an Italian accent. (performance)
Dave sings opera at the table, calls the cat Fellini, and drifts into an accent that is not his, all while his father waits for one plain word of English.
Payoff: The costume is constant and visible from the start, before the plot ever explains what it's for. In the reading: le faussaire (the forger). The reading calls Dave a forger: not a liar hiding something real, but someone who manufactures a self, and the manufacture starts working.
Track the university buildings and the boys' houses sharing stone. (staging)
The film keeps framing the collegiate-Gothic campus against the plain commercial streets and small houses of the cutters, the same limestone quarried by the boys' own fathers.
Payoff: The class divide is built into the architecture on screen before a single character talks about it. In the reading: the encompasser. The reading calls the campus a synsign, an encompasser: a situation so large it does the pressing, without needing to say a word.
Notice how differently the boys act at the quarry. (setting)
At the flooded quarry the four friends swim, dive, and joke without any of the class tension that follows them everywhere else in town.
Payoff: The quarry is the one space in the film where nobody has to perform anything for anybody.
Follow the editing loosen in the hangout scenes. (cutting)
Scheider lets the boys' scenes breathe at an easy, conversational pace, then switches to tighter, faster cutting whenever the film gets near an actual race.
Payoff: You can feel which scenes the film considers urgent by how quickly it cuts through them.
Watch the father's exasperation at the dinner table. (performance)
Dooley plays Dave's father as a man perpetually startled by his own son, his complaints about 'ini' foods and refunds building into the film's funniest running bit.
Payoff: The comedy carries real tenderness underneath it, a father who doesn't understand his son but keeps showing up anyway.
Once you have seen it
Notice exactly how the Italian team cheats Dave. (structure)
The visiting Italian racers Dave has idolized for years turn out to be willing to cheat to beat him, puncturing the fantasy he built his whole identity around.
Payoff: The originals turn out to be the frauds, and the invented Indiana kid turns out to be the sincere one.
Watch how the cutters are announced to enter the race. (structure)
The four friends enter the Little 500 under the very insult the students use against them, racing as a team publicly called the Cutters.
Payoff: Winning something as that name turns an insult into their own claimed identity, in front of the entire town.
Catch Mike say out loud that he'll always be a cutter. (performance)
Quaid plays Mike as someone who can see his whole future clearly and still cannot move, naming his own fate out loud without it changing anything about it.
Payoff: Seeing your situation accurately and being unable to act on it turns out to be its own kind of trap. In the reading: crisis of the action-image. The reading calls this the crisis of the action-image: a character who perceives his situation accurately and still has no adequate move available to him.
Track the father's private pride in the buildings he cut. (structure)
Late in the film Dave's father admits an unexpected pride in the university his own hands helped construct, a feeling he had never once shown earlier.
Payoff: The reconciliation lands harder because the film withheld this feeling from the father for its entire first half.
Carry this in: Count the pretending: the accent, the fake exchange student, Mike's hardness. Then notice which of it holds weight.