Une femme est une femme (1961)
(A Woman Is a Woman)
Country: FR
Technical: Eastmancolor/scope 85m
Director: Jean-Luc Godard
Cast: Jean-Paul Belmondo, Jean-Claude Brialy, Anna Karina
Synopsis:
Pigalle, Paris: a stripper at a low-tech nightclub yearns for a baby by her live-in partner, Emile; but when he refuses she gives way to their friend, Alfred, who is infatuated with her.
Review:
Part realism, part whimsy, this homage to the film musical plumbs the usual Godard territory (language spattered across the screen, word play, coquettish acting, theatrical visual effects, a highly conscious use of the soundtrack); in short we are never allowed to enjoy the film as a comédie musicale, but are nonetheless aware of a flirtation with song and dance tropes, and a heightened cronyism in his still fresh love affair with filmmaking (Jeanne Moreau and Marie Dubois even walk on and plug Truffaut films).
(A Woman Is a Woman)
Country: FR
Technical: Eastmancolor/scope 85m
Director: Jean-Luc Godard
Cast: Jean-Paul Belmondo, Jean-Claude Brialy, Anna Karina
Synopsis:
Pigalle, Paris: a stripper at a low-tech nightclub yearns for a baby by her live-in partner, Emile; but when he refuses she gives way to their friend, Alfred, who is infatuated with her.
Review:
Part realism, part whimsy, this homage to the film musical plumbs the usual Godard territory (language spattered across the screen, word play, coquettish acting, theatrical visual effects, a highly conscious use of the soundtrack); in short we are never allowed to enjoy the film as a comédie musicale, but are nonetheless aware of a flirtation with song and dance tropes, and a heightened cronyism in his still fresh love affair with filmmaking (Jeanne Moreau and Marie Dubois even walk on and plug Truffaut films).
(A Woman Is a Woman)
Country: FR
Technical: Eastmancolor/scope 85m
Director: Jean-Luc Godard
Cast: Jean-Paul Belmondo, Jean-Claude Brialy, Anna Karina
Synopsis:
Pigalle, Paris: a stripper at a low-tech nightclub yearns for a baby by her live-in partner, Emile; but when he refuses she gives way to their friend, Alfred, who is infatuated with her.
Review:
Part realism, part whimsy, this homage to the film musical plumbs the usual Godard territory (language spattered across the screen, word play, coquettish acting, theatrical visual effects, a highly conscious use of the soundtrack); in short we are never allowed to enjoy the film as a comédie musicale, but are nonetheless aware of a flirtation with song and dance tropes, and a heightened cronyism in his still fresh love affair with filmmaking (Jeanne Moreau and Marie Dubois even walk on and plug Truffaut films).