Vivre sa vie (1962)
(My Life to Live)
Country: FR
Technical: bw 83m
Director: Jean-Luc Godard
Cast: Anna Karina, Sady Rebbot, André S. Labarthe
Synopsis:
Twelve 'tableau' scenes in a Parisian woman's life as she slides inexorably towards prostitution.
Review:
For the second film with his muse Karina, Godard adopted a more stripped back aesthetic. There is the customary preoccupation with text, each section having its introduction on an intertitle, and the film shares the use of jump cuts and disjunction between sound and image of earlier films. However, there is clearly an attempt here to produce something akin to documentary, with statistical material voiced off-camera, and a confessional positioning of the actress, who is frequently backlit. As usual, the film is highly allusive, with references to Lulu/Louise Brooks and other film-makers, writers, and the popular culture of the time.
(My Life to Live)
Country: FR
Technical: bw 83m
Director: Jean-Luc Godard
Cast: Anna Karina, Sady Rebbot, André S. Labarthe
Synopsis:
Twelve 'tableau' scenes in a Parisian woman's life as she slides inexorably towards prostitution.
Review:
For the second film with his muse Karina, Godard adopted a more stripped back aesthetic. There is the customary preoccupation with text, each section having its introduction on an intertitle, and the film shares the use of jump cuts and disjunction between sound and image of earlier films. However, there is clearly an attempt here to produce something akin to documentary, with statistical material voiced off-camera, and a confessional positioning of the actress, who is frequently backlit. As usual, the film is highly allusive, with references to Lulu/Louise Brooks and other film-makers, writers, and the popular culture of the time.
(My Life to Live)
Country: FR
Technical: bw 83m
Director: Jean-Luc Godard
Cast: Anna Karina, Sady Rebbot, André S. Labarthe
Synopsis:
Twelve 'tableau' scenes in a Parisian woman's life as she slides inexorably towards prostitution.
Review:
For the second film with his muse Karina, Godard adopted a more stripped back aesthetic. There is the customary preoccupation with text, each section having its introduction on an intertitle, and the film shares the use of jump cuts and disjunction between sound and image of earlier films. However, there is clearly an attempt here to produce something akin to documentary, with statistical material voiced off-camera, and a confessional positioning of the actress, who is frequently backlit. As usual, the film is highly allusive, with references to Lulu/Louise Brooks and other film-makers, writers, and the popular culture of the time.