A Woman Is a Woman and the Legend of Anna Karina

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Jean-Luc Godard, the director who made the film “A Woman Is a Woman” in 1961, described it as something that could be considered both a comedy and a tragedy, but ultimately, he called it a masterpiece. In an interview before its release, Godard was being playfully evasive. He acknowledged that the movie was a blend of various influences. Filmed using CinemaScope and color, it was intended to be a visually striking spectacle, “a film for set designers,” which Godard intentionally made impromptu and hastily.

Contrary to being labeled as a “neorealist musical,” the movie “A Woman Is a Woman” (now playing on screens again in a 4K restoration) is not exactly that. It does have music, but it’s rarely when characters are singing. The film borrowed shots from the streets of Strasbourg–Saint-Denis without the knowledge of the working-class pedestrians, yet Godard frequently used these images for absurd situations. The visual style intentionally contrasts, with the bright primary colors of costumes and sets clashing against dull, gray, real-life backdrops.

In a refreshingly straightforward and humane storyline reminiscent of the Italian neorealists’ favorite themes, this captivating film has been cleverly twisted with an absurdly comical and romantic twist. The protagonist, Angela (portrayed by Anna Karina, a muse to Godard and later his wife), yearns for motherhood, but her aloof partner, Emile (Jean-Claude Brialy), is reluctant due to an upcoming bicycle race. In steps their mutual friend, Alfred (played by Jean-Paul Belmondo), who has feelings for Angela, to lend a helping hand in this unique predicament.

Prior to creating “A Woman Is a Woman”, the director had already finished two other films. The 1960’s film, “Breathless”, a popular lovers-on-the-run caper and a landmark of the New Wave, was hugely successful. On the other hand, the political drama, “Le petit soldat” (originally filmed in 1960 but not released until 1963), faced controversy. With high expectations, “A Woman Is a Woman” arrived at a critical juncture for the Nouvelle Vague; its underperformance at the box office, coupled with the financial letdown of Francois Truffaut’s “Shoot the Piano Player” (1960), led some critics to forecast the end of the movement, albeit prematurely.

The story was far from over, as A Woman Is a Woman would catapult Karina into stardom. At the 1961 Berlin Film Festival, she won Best Actress, and her performance captivated an entire generation of film enthusiasts. Her on-screen presence, filled with strides, gazes, smiles, and sighs, was magnetic. It’s easy to understand why they fell in love, not only with her but with the concept of her and the budding world she portrayed.

Her vibrant costumes and lively delivery exuded joy, yet a profound sadness lingered beneath. Born in Denmark, Karina struggled with French dialogue and pronunciation, and we can feel the discomfort; Godard even includes some unintentional mistakes. He adores her flaws, as do we. However, being in such a demanding role must have been incredibly challenging for her.

In my humble opinion, this film serves as yet another groundbreaking chapter in the innovative journey of its visionary director. Unlike his earlier works such as Breathless, which started conventionally but morphed into a daring break from cinematic norms, or Le petit soldat, which played with noir and melodrama tropes, this movie appears to be born out of an impulse to dismantle the very foundations of filmmaking.

In simpler terms, this film exhibits elements typically found in musicals, but without the music itself. Scenes can abruptly switch, even starting a song right before cutting away completely. The sound effects are often exaggerated, such as cartoonish ones punctuating arguments between lovers. Unusual audio choices add to the expressionistic and sometimes eccentric feel of the movie. In one scene, actors bow to the audience in a way that’s meant to be serious. At a strip club where women don’t dance off their clothes, they do so through quick edits; their faces remain expressionless, like static pin-up models. An unusual argument between Angela and Emile involves them communicating solely through book titles, while carrying around a large floor lamp for lighting. The only coordinated action in the film might be a character gracefully brushing dirt off their feet before going to bed.

Beneath the vibrant colors, artistic touches, and playful undertones lies a more intimate and poignant theme. It’s not only Karina’s acting that evokes a muted, unexpected sadness. Godard’s subsequent films with his muse (and some without her) were influenced by their stormy relationship, and here, amidst these stylistic embellishments, we can feel a palpable apprehension – about love, family, commitment, the future, and the enigma of relationships. The director and actress had already separated and reconciled before making A Woman Is a Woman; this wouldn’t be their last reconciliation. Not much after the filming ended, Karina found out she was pregnant, and they quickly got married; she would later suffer a miscarriage a few months later. Their marriage continued in an increasingly tumultuous manner. They made eight films together, including some after their final separation and some during it.

In interviews, Godard often spoke cryptically about such topics, and he was generally enigmatic in his conversations (to put it mildly, he was always mysterious). However, his work vividly reflected the tumultuous personal storms in his life. His audacious formal choices were deeply intertwined with the emotional turmoil that defined him. In essence, the chaotic creativity of his films mirrored a restless mind and heart. Godard’s cinematic deconstructions aimed to dismantle not only movies but also life itself (for him, it seems there was little distinction between the two).

The film A Woman Is a Woman, despite its light-hearted exterior and experimental style, explores a couple who struggle to comprehend each other, yet their bond deepens because of this misunderstanding. It’s a work that transcends genres – it’s a fantasy, a comedy, a musical, and a tragedy all rolled into one.

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2025-02-07 17:54