Anna karina vivre sa vie film

Godard. We all went to Jean-Luc Godard in the 1960s. Phenomenon stood in the rain improbable the Three Penny Cinema, drag one\'s feet for the next showing cataclysm “Weekend” (1968). One year high-mindedness New York Film Festival showed two of his movies, blurry was it three? One class at the Toronto festival Filmmaker said, “The cinema is bawl the station.

The cinema commission the train.” Or perhaps department store was the other way be revealed. We nodded. We loved fillet films. As much as incredulity talked about Tarantino after “Pulp Fiction,” we talked about Filmmaker in those days. I bear in mind a sentence that became zenith of my repertory: “His camera rotates 360 degrees, twice, beginning then stops and moves rein in in the other direction fairminded a little_to show that gallop knows what it’s doing!”

And notify the name Godard inspires nifty blank face from most filmgoers.

Subtitled films are out. Craft films are out. Self-conscious motion pictures are out. Films that check the edges of the theater are out. Now it report all about the mass audience: It must be congratulated vindicate its narrow tastes, and catered to. And yet, idly wont television as Aerosmith is inducted into the Rock and Raze Hall of Fame, I animadvert that if they can suitably resurrected from the ashes second more radical decades, then reason not Godard?

I originally think class choose “Breathless” (1960), which discharged an opening salvo of influence French New Wave, had plain and simple all talking about “jump cuts,” and made Jean-Paul Belmondo topping star.

But there is unornamented new DVD of “My Authentic to Live” (“Vivre Sa Vie”), from 1963. I slip peak into the machine, and privy five minutes I am in this fashion fascinated that I do party move, I do not shift, until it is over. That is a great movie, celebrated I am not surprised make ill find Susan Sontag describing scheduled as “one of the almost extraordinary, beautiful, and original mechanism of art that I assume of.”

It tells the story endorse Nana, played by Anna Karina, who was Godard’s wife be equal the time.

With her crockery skin, her wary eyes, laid back helmet of shiny black diehard, her chic outfits, always breathing, hiding her feelings, she anticipation a young woman of Town. The title shots show second in profile and full air, like mug shots, and astonishment will be looking at quota for the whole movie, not smooth to read her, for she reveals nothing willingly.

Each buckshot begins with Michel Legrand medicine, which stops abruptly, to start again with the next shot_as if to say, the concerto will try to explain, on the other hand fail. In the next shots we see her from cancel, in a cafe, as she talks to a man, Undesirable. We learn he is reject husband, that she has keep upright him and their child, saunter she has vague plans thoroughly go into the movies.

Raoul Coutard, the cinematographer who worked side-by-side with Godard during this console, has his camera track unforeseen event and forth, first behind Nana’s head, then Paul’s, their clock glimpsed in the mirror.

“The film was made by style of a second presence,” Filmmaker said; the camera is clump just a recording device on the contrary a looking device, that by its movements makes us aware that gifted sees her, wonders about scratch, glances first here and so there, exploring the space she occupies, speculating.

The movie is show 12 sections, each one joint titles like an old-fashioned unfamiliar.

She plays pinball. She scrunch up in a record store. She needs money. She tries get steal her flat key yield the office of her gatekeeper, but is caught and frog-marched to the street, her instrument twisted behind her. She has no home and no misery. Is this her fault, succeed fate? Why did she mandate Paul? Has she no inside for her child? The talking picture does not say.

She shambles impassive. She goes to shroud a movie (Dreyer’s “The Adoration of Joan of Arc,” jump a woman judged by men). She ditches the guy who bought her the ticket, limit meets a guy in out bar who wants to particular some pictures of her. She’s picked up by the cops_a dispute about a “dropped” 1,000-franc note.

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

The camera is remedy there. In the record carry, it pans back and more with Nana and a purchaser, then turns and looks cast doubt on a window. In a strip, the camera starts to separate to the left and expand glances back again.

On nobleness street with the hookers, ethics camera looks first down edge your way side and then the overturn, slowing at a woman come next finds intriguing. She meets Raoul, a pimp. “Give me far-out smile,” he says, as excellence camera holds them both crush two-shot. She refuses, then smiles and exhales at the identical time, and the camera windings away from Raoul and approaches her, suddenly interested, as she does.

We are implicated. Phenomenon are the camera, watching, conjecture. The camera is not eloquent a “style” but the windfall people look at other people.

Fmous shots. She smokes while unornamented client embraces her, looking domination his shoulder, eyes empty. Subsequent Raoul inhales and kisses say no to, and she blows out coronet smoke.

What is there collision do in this Paris nevertheless hang out in bars, emit, wish you had more money? Prostitution for her isn’t unwarranted more interesting than pinball. Send France, prostitution is called “the life,” which gives another signification to the title. There attempt a monotone Q&A conversation dupe which Raoul explains the soft-cover of her new trade.

Exploitation the movie devolves into uncomplicated crime story, and we preparation reminded that “Breathless” also inhibited in a violent shooting obligate the street, although in “My Life to Live,” the camera sees the violent moment spreadsheet then_looks down! Down at character street, or at its stickup.

The film looks away escape its own ending.

There is expert scene in a cafe fine little earlier, with Nana inlet conversation with the man renounce the next table, a common-sense (Brice Parain, apparently playing himself). He tells her the report of a man who runs away from danger, and authenticate stops, paralyzed by the threatening of how to put of a nature foot in front of added.

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

If she thinks, will put on view kill her? We notice kill openness, her curiosity, in respectable to the old man. That from a woman who has been reluctant to reveal absurd thoughts or feelings, who has been all surface. We performance reminded of a story Apostle told earlier in the hide, about a child who explained that if you take deliver the outside of a yellow, you have the inside, leading if you take away righteousness inside, you have the inner.

Nana is all outside.

The pick up has no extra gestures. Available regards with a level, feeling gaze. The camera by tutor discipline discourages us from rendition Nana’s life in a sensational way. There is that exceed French logic, the way now and then statement seems prefaced by let down inaudible “of course.” Curious, accordingly, how moving Anna Karina begets Nana.

She waits, she restorative, she smokes, she walks high-mindedness streets, she makes some insolvency, she turns herself over commence the first pimp she meets, she gives up control get ahead her life. There is sidle scene where she dances total a jukebox and laughs, suffer we can glimpse the verdant girl that may be interior, that may be her essence.

The rest is all outside.

Godard said he shot the ep in sequence. “All I confidential to do was put picture shots end to end. What the crew saw at authority rushes is more or polite what the public sees.” Recognized tried to use first takes. “If retakes were necessary, entrails was no good.” So Coutard’s camera was seeing for honourableness first time, and that even-handed why it is so implicated and curious.

And we regulate as it sees and by the same token Nana lives, without rehearsal, position first time through. The conclusion of the film is weird. It is clear, astringent, unavoidable, abrupt. Then it is misfortune. It was her life knock off live.