|
Credits
|
|
|
Summary
Nana
works in a record shop but dreams of being an actress. Having
split
up with her husband, she drifts into the life of a Parisian
prostitute.
Her world is a mixture of torment and joy as she struggles to make
something
of her life. In the end, she finds that it is not her life to
live
after all....
Review
One
of the most significant films of the French New Wave, Vivre sa vie is
quintessentially Jean-Luc Godard at his best. The approach used
in
this film is quite different to his earlier films. Here, we have
twelve tableaux – distinct episodes which illustrate the unfolding life
of the tragic Nana. It is an approach which works well, not
only for its novelty value but because it allows Godard to adopt a very
different mood and style for each segment of the film. As a
result,
every scene has a surprising personal depth and impact, heightened by
some
ingenious photography and often profound dialogue.
Nana is played by the delightful Anna Karina, Godard’s wife at the time. The director and his subject work very well together. Nana is a beautifully crafted creation, like an artist’s portrait of his beloved wife (an analogy which Godard uses very powerfully in one segment of the film). The
slightly off the wall humour, the crude editing, the abrupt and
shocking
ending – all the traits that marked out a New Wave film are here in
force.
But above that, Vivre sa vie has a poetic eloquence and
lucidity
of expression that makes this a truly memorable and worthy film.
© James Travers 2000
For more on Jean-Luc Godard see: |
Buy this film: 
|
 |
