HOME |  JOIN |  CULT MOVIES | COMPETITIONS | ADVERTISE |  CONTACT US |  ABOUT US
 
 
Newest Reviews
Aurora Encounter, The
Breaking In
Breaking In
Please Stand By
Cockeyed Cowboys of Calico County, The
Deadpool 2
Smart Money
Lupin the Third vs. Detective Conan: The Movie
Gangsta
3 Nuts in Search of a Bolt
Magic Serpent, The
That's Not Me
There Goes the Bride
Billy the Kid versus Dracula
Liquid Sword
I, Tonya
Universal Soldier: Regeneration
Bad Match
Güeros
Anchor and Hope
One, The
Captain Underpants: The First Epic Movie
Lucky
Still of the Night
Home Sweet Homicide
Mannaja - A Man Called Blade
Spitfire
Killers from Space
Castle of the Creeping Flesh
Ghost Stories
   
 
Newest Articles
I-Spy Scotland: The Thirty Nine Steps and Eye of the Needle
Manor On Movies--Black Shampoo--three three three films in one
Manor On Movies--Invasion USA
Time Trap: Last Year in Marienbad and La Jetée
Gaining Three Stone: Salvador, Natural Born Killers and Savages
Right Said Bernard: Cribbins on DVD
1969: The Year Westerns Couldn't Get Past
A Network Horror Double Bill: Assault and Death Line on Blu-ray
The Edie Levy: Edie Sedgwick, Andy Warhol and Ciao! Manhattan
The Ultimate Trip: The Original Psychedelic Movies
Players of Games: Willy Wonka, Tron and Ready Player One
What Am I Doing Hangin' 'Round? The Ends of The Monkees
Flings and Arrows: Conquest vs Flesh + Blood
Orson Around: F for Fake and The Late Great Planet Earth
ITC What You Did There: Retro-Action on Blu-ray
   
 
  Vivre Sa Vie One Life To LiveBuy this film here.
Year: 1962
Director: Jean-Luc Godard
Stars: Anna Karina, Sady Rebbot, André S. Labarthe, Guylaine Schlumberger, Gérard Hoffman, Monique Messine, Paul Pavel, Dmitri Dineff, Peter Kassovitz, Eric Schlumberger, Brice Parain, Henri Attal
Genre: Drama
Rating:  7 (from 1 vote)
Review: Nana (Anna Karina) sits in a café discussing her faltering relationship with her boyfriend. She has always wanted to be an actress, and indeed appeared in a film with Eddie Constantine or so she says, but her career doesn't look as if it's going anywhere fast. The same can be said of her love life, and she complains that her boyfriend doesn't treat her as if she's someone special to him, after all, she does with him and she's not sure she even loves him anymore. This is the first stage of Nana's journey into prostitution...

Scripted by director Jean-Luc Godard for his then wife Karina, this could be the film of his that those who usually find him cold and intellectually offputting can find an emotional attachment to. That may be more to do with the presence of the star at her most adorable than Godard caving in and turning sentimental, as the film adopts the dispassionate structure of twelve separate periods in Nana's life, almost as if it were a documentary of the anthropological nature.

Nevertheless, emotions both positive and negative shine through as the main character struggles to come to terms with her station in life. At one point, she goes to see The Passion of Joan of Arc in the cinema - being a Godard work, Nana had to be a film buff I guess - and images of her crying at the story are cut into the footage on the screen, as if her suffering is just as intense as Joan's. But largely the film is not so blatant in its manipulation, creating a distance from the heroine that Karina goes quite some way to bridging.

It's genuinely sad to see Nana's descent into prostitution and thwarted love, and Godard seems to be making a comment on acting and whoring being uncomfortably similar: if you can't do one, you'll end up doing the other. Nana's scene with the pimp who adopts her is surprisingly moving as she fights back tears while outlining her broken dreams, dreams we have seen her pursue with no reward. No matter how Godard wishes to keep us at one remove, Karina draws us in, and even though Nana claims that she is mistress of her own destiny, whether she's happy or sad depends solely on herself she says, we are not so sure.

Some of the techniques used to set us apart from the drama include showing the backs of people's heads when they're talking (the whole of the first section takes this approach), having characters offscreen or in darkness against bright light delivering their dialogue, and putting up subtitles for them. But it's all to do with talking, never mind how difficult Godard makes it, and Nana's meeting with a philosopher in the eleventh section makes that clear: it's speech, that form of communication, that brings us, binds us together. And love? There's a cynicism - or is it disillusionment? - that creeps into the story, no more so than in the ending that seems callous and petulant more than anything else, ensuring that Nana leaves love behind for good. Music by Michel Legrand.
Reviewer: Graeme Clark

 

This review has been viewed 3726 time(s).

As a member you could Rate this film

 
Review Comments (0)


Untitled 1

Login
  Username:
 
  Password:
 
   
 
Forgotten your details? Enter email address in Username box and click Reminder. Your details will be emailed to you.
   

Latest Poll
Who's the best?
Steven Seagal
Pam Grier
   
 
   

Recent Visitors
Graeme Clark
Andrew Pragasam
Stately Wayne Manor
  Patrick Keenan
Enoch Sneed
Ian Phillips
  Afra Khan
  Dan Malone
   

 

Last Updated: