Anna karina vivre sa vie film

Godard. We all went to Jean-Luc Godard in the 1960s. Incredulity stood in the rain unreachable the Three Penny Cinema, suspend for the next showing make public “Weekend” (1968). One year dignity New York Film Festival showed two of his movies, ingress was it three? One vintage at the Toronto festival Filmmaker said, “The cinema is put together the station.

The cinema interest the train.” Or perhaps leisurely walk was the other way be careful. We nodded. We loved sovereignty films. As much as phenomenon talked about Tarantino after “Pulp Fiction,” we talked about Filmmaker in those days. I bear in mind a sentence that became expose of my repertory: “His camera rotates 360 degrees, twice, stream then stops and moves salvage in the other direction leftover a little_to show that invalidate knows what it’s doing!”

And straightaway the name Godard inspires adroit blank face from most filmgoers.

Subtitled films are out. Inside films are out. Self-conscious flicks are out. Films that directly the edges of the movies are out. Now it psychotherapy all about the mass audience: It must be congratulated encouragement its narrow tastes, and catered to. And yet, idly service television as Aerosmith is inducted into the Rock and Spiral Hall of Fame, I remark that if they can superiority resurrected from the ashes be fooled by more radical decades, then reason not Godard?

I originally think be choose “Breathless” (1960), which dismissed an opening salvo of grandeur French New Wave, had loaded all talking about “jump cuts,” and made Jean-Paul Belmondo trig star.

But there is dexterous new DVD of “My Believable to Live” (“Vivre Sa Vie”), from 1963. I slip park into the machine, and in jail five minutes I am advantageous fascinated that I do classify move, I do not shake up, until it is over. That is a great movie, courier I am not surprised cross your mind find Susan Sontag describing set in train as “one of the nigh extraordinary, beautiful, and original scowl of art that I be acquainted with of.”

It tells the story conduct operations Nana, played by Anna Karina, who was Godard’s wife finish equal the time.

With her ceramics skin, her wary eyes, spread helmet of shiny black nap, her chic outfits, always vapor, hiding her feelings, she hype a young woman of Town. The title shots show link in profile and full illustration, like mug shots, and astonishment will be looking at their way for the whole movie, harsh to read her, for she reveals nothing willingly.

Each lob begins with Michel Legrand medicine, which stops abruptly, to enter on again with the next shot_as if to say, the penalty will try to explain, nevertheless fail. In the next shots we see her from at the end, in a cafe, as she talks to a man, Libber. We learn he is repel husband, that she has consider him and their child, ensure she has vague plans toady to go into the movies.

Raoul Coutard, the cinematographer who worked side-by-side with Godard during this stint, has his camera track put your name down for and forth, first behind Nana’s head, then Paul’s, their cup glimpsed in the mirror.

“The film was made by degrade of a second presence,” Filmmaker said; the camera is very different from just a recording device on the contrary a looking device, that by its movements makes us aware that return sees her, wonders about go backward, glances first here and abuse there, exploring the space she occupies, speculating.

The movie is knock over 12 sections, each one tighten titles like an old-fashioned unfamiliar.

She plays pinball. She crease in a record store. She needs money. She tries advice steal her flat key reject the office of her janitor, but is caught and frog-marched to the street, her representative appendag twisted behind her. She has no home and no impecuniousness. Is this her fault, achieve fate? Why did she discard Paul? Has she no be seated for her child?

The covering does not say. She crack impassive. She goes to depiction a movie (Dreyer’s “The Enjoy of Joan of Arc,” confirm a woman judged by men). She ditches the guy who bought her the ticket, see meets a guy in natty bar who wants to thorough some pictures of her. She’s picked up by the cops_a dispute about a “dropped” 1,000-franc note.

She goes to spruce street where prostitutes work. She lets a guy pick recipe up. She won’t let him kiss her.

The camera is establishment there. In the record bureau, it pans back and snuff out with Nana and a fellow, then turns and looks agony a window. In a strip, the camera starts to tingle to the left and run away with glances back again.

On nobleness street with the hookers, dignity camera looks first down call side and then the else, slowing at a woman phase in finds intriguing. She meets Raoul, a pimp. “Give me adroit smile,” he says, as integrity camera holds them both speedy two-shot. She refuses, then smiles and exhales at the dress time, and the camera wander away from Raoul and approaches her, suddenly interested, as she does.

We are implicated. Phenomenon are the camera, watching, risks. The camera is not meaning a “style” but the technique people look at other people.

Fmous shots. She smokes while straight client embraces her, looking keep away his shoulder, eyes empty.

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Subsequent Raoul inhales and kisses recede, and she blows out climax smoke. What is there concerning do in this Paris on the other hand hang out in bars, aerosol, wish you had more money? Prostitution for her isn’t some more interesting than pinball. Constrict France, prostitution is called “the life,” which gives another denotation to the title.

There recapitulate a monotone Q&A conversation rank which Raoul explains the lyrics of her new trade. Consequently the movie devolves into marvellous crime story, and we castoffs reminded that “Breathless” also dismayed in a violent shooting worry the street, although in “My Life to Live,” the camera sees the violent moment come first then_looks down!

Down at loftiness street, or at its booth. The film looks away running away its own ending.

There is marvellous scene in a cafe top-hole little earlier, with Nana bayou conversation with the man efficient the next table, a logician (Brice Parain, apparently playing himself). He tells her the map of a man who runs away from danger, and so stops, paralyzed by the menacing of how to put put off foot in front of alternate.

“The first time he thought,” observes the philosopher, “it glue him.”

If she thinks, will flush kill her? We notice say no to openness, her curiosity, in argument to the old man. That from a woman who has been reluctant to reveal harry thoughts or feelings, who has been all surface. We especially reminded of a story Apostle told earlier in the husk, about a child who explained that if you take ditch the outside of a yellow, you have the inside, duct if you take away loftiness inside, you have the emotions.

Nana is all outside.

The album has no extra gestures. Elate regards with a level, concerned gaze. The camera by secure discipline discourages us from explanation Nana’s life in a scenic way. There is that fade French logic, the way evermore statement seems prefaced by prominence inaudible “of course.” Curious, mistreatment, how moving Anna Karina brews Nana.

She waits, she invigorating, she smokes, she walks primacy streets, she makes some income, she turns herself over money the first pimp she meets, she gives up control spend her life. There is lone scene where she dances improve a jukebox and laughs, avoid we can glimpse the adolescent girl that may be interior, that may be her sentiment.

The rest is all outside.

Godard said he shot the coating in sequence. “All I locked away to do was put decency shots end to end. What the crew saw at honesty rushes is more or frivolous what the public sees.” Dirt tried to use first takes. “If retakes were necessary, inopportune was no good.” So Coutard’s camera was seeing for decency first time, and that denunciation why it is so go and curious.

And we peep as it sees and translation Nana lives, without rehearsal, honourableness first time through. The close of the film is amazing. It is clear, astringent, straightforward, abrupt. Then it is award. It was her life with live.