Bande-annonce de 'Vivre sa vie: Film en douze tableaux'

Live Your Life (Easier Said than Done)...

Claude Brasseur, Sami Frey, and Anna Karina in Band of Outsiders (1964)

Jean-Paul Belmondo and Anna Karina in Pierrot le fou (1965)

Jean-Paul Belmondo, Jean-Claude Brialy, and Anna Karina in A Woman Is a Woman (1961)

Yves Afonso, Chantal Goya, and Jean-Pierre Léaud in Masculine Feminine (1966)

Jean-Paul Belmondo and Jean Seberg in Breathless (1960)

Brigitte Bardot, Fritz Lang, Jack Palance, Giorgia Moll, and Michel Piccoli in Contempt (1963)

Alphaville: Une étrange aventure de Lemmy Caution

Eddie Constantine and Anna Karina in Alphaville (1965)

Anna Karina and Michel Subor in The Little Soldier (1963)

Une femme mariée: Suite de fragments d'un film tourné en 1964

The more we talk, the less the words mean.

Anna Karina

Sady Rebbot

André S. Labarthe

Marcel Sacotte

Jean-Luc Godard

Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.

Vivre sa vie: Film en douze tableaux

The Summary of Sixties Godard

The crux of 60&apos;s Godard. His quirks are broken down into twelve segments manageable for the inexperienced viewer. If only one Godard film is to be watched, it might be this one. Though none of us would want to live in that world.

The film opens with an entrancing first ten minutes. The credit sequence and ensuing scene introduce the crucial theme of acting versus reality. Nana, played by Anna Karina, seems to never truly escape the personality of the actress who portrays her. Instead of avoiding this, Godard embraces the ambiguity and creates an entire film that obsesses over Karina&apos;s image. From the credits to &quot;Fin&quot;? the audience, like Nana, is fixated on her outward appearance. She constantly references her desire to be in movies and have her picture taken. Ultimately, she becomes a prostitute, seemingly the only place to turn for a girl who allows herself to be mercilessly controlled by men. This tragedy is underscored by her clear desire to be &quot;special&quot;? and, most potently, in her tearful viewing of Jeanne d&apos;arc, a woman who faces death at the hands of men. Nana&apos;s personality and development can be seen as a vehicle for Godard&apos;s philosophy on film. The &quot;men photographing women&quot; had become perverted to the point of solicitation and death. The obvious parallels between the ending of VIVRE and BREATHLESS suggest a pessimistic condemnation of contemporary law and society.

Godard&apos;s deliberate camera motion, defiant attitude towards cinematic grammar, and clear pacing created a film that, though fictional, is one of the most honest human portraits available. Always experimenting with sound, the director never succumbs to standard over-the- shoulder dialogue sequences. Instead, he accesses another level of meaning by making deliberate choices over who is seen when saying specific words. Sometimes there are cuts and sometimes there are pans, but never is there a decision that seems arbitrary or purely for the sake of ease. While Godard&apos;s films do own a simple and unashamed quality that might lend itself to less expensive filmmaking, it is clear that his choices serve specific purposes and are always a slave to the greater objectives in the film. One of the most striking scenes in VIVRE SA VIE is where Nana is writing a letter. It is a simple act on which most directors would only spend a few seconds. Instead, Godard places a close-up on the letter and allows the audience to watch the entire process and become engulfed in Nana&apos;s (or Karina&apos;s) beautiful handwriting and the earnest quality of the letter.

VIVRE SA VIE successfully provides a tidy summary of Godard&apos;s quirky brilliance. For those willing to explore his genius, this film is the ideal starting place (if not working chronologically). But be careful. Once his capabilities are discovered, they will never leave you.

89.8

My Life To Live

https://m.media-amazon.com/images/M/MV5BMTc2MmE2NDYtM2VmOS00NTk3LTkyZmYtNzVhZjc5Zjg5MzdhXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_.jpg

The crux of 60's Godard. His quirks are broken down into twelve segments manageable for the inexperienced viewer. If only one Godard film is to be watched, it might be this one. Though none of us would want to live in that world.

The film opens with an entrancing first ten minutes. The credit sequence and ensuing scene introduce the crucial theme of acting versus reality. Nana, played by Anna Karina, seems to never truly escape the personality of the actress who portrays her. Instead of avoiding this, Godard embraces the ambiguity and creates an entire film that obsesses over Karina's image. From the credits to "Fin"? the audience, like Nana, is fixated on her outward appearance. She constantly references her desire to be in movies and have her picture taken. Ultimately, she becomes a prostitute, seemingly the only place to turn for a girl who allows herself to be mercilessly controlled by men. This tragedy is underscored by her clear desire to be "special"? and, most potently, in her tearful viewing of Jeanne d'arc, a woman who faces death at the hands of men. Nana's personality and development can be seen as a vehicle for Godard's philosophy on film. The "men photographing women" had become perverted to the point of solicitation and death. The obvious parallels between the ending of VIVRE and BREATHLESS suggest a pessimistic condemnation of contemporary law and society.

Godard's deliberate camera motion, defiant attitude towards cinematic grammar, and clear pacing created a film that, though fictional, is one of the most honest human portraits available. Always experimenting with sound, the director never succumbs to standard over-the- shoulder dialogue sequences. Instead, he accesses another level of meaning by making deliberate choices over who is seen when saying specific words. Sometimes there are cuts and sometimes there are pans, but never is there a decision that seems arbitrary or purely for the sake of ease. While Godard's films do own a simple and unashamed quality that might lend itself to less expensive filmmaking, it is clear that his choices serve specific purposes and are always a slave to the greater objectives in the film. One of the most striking scenes in VIVRE SA VIE is where Nana is writing a letter. It is a simple act on which most directors would only spend a few seconds. Instead, Godard places a close-up on the letter and allows the audience to watch the entire process and become engulfed in Nana's (or Karina's) beautiful handwriting and the earnest quality of the letter.

VIVRE SA VIE successfully provides a tidy summary of Godard's quirky brilliance. For those willing to explore his genius, this film is the ideal starting place (if not working chronologically). But be careful. Once his capabilities are discovered, they will never leave you.

89.8

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Vivre sa vie: Film en douze tableaux

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