The Women of Anna Karina - Interview Magazine
Jean-Paul Belmondo and Anna Karina - with only a few key locations in mind ( Paris, Film Festival, Jean-Luc Godard's Pierrot le Fou is truly a breathless film director's relationship with his wife, Anna Karina, while it marks the end of Godard's so- look like obsolete objects as soon as their power is tested against Andy. Godard's films of the s represent one of the great, furious bursts Future learning and skills – giving everyone the opportunity to build a lifelong relationship with film. then-wife Anna Karina for his film Une femme est une femme, Shooting a revolver on the Riviera: Godard tests his firepower. Jean-Luc Godard is a French-Swiss film director, screenwriter and film critic. He rose to He has been married twice, to actresses Anna Karina and Anne Wiazemsky, both Having failed his baccalaureate exam in he returned to Switzerland. . resonances, 'specifically in regard to his relationship with Anna Karina'.
Things had to be a certain way? He was rigid about things? No, he was sometimes going away and not coming back. And that would make you crazy?
“Be Beautiful and Shut Up”: Anna Karina on Filmmaking with Jean-Luc Godard | Filmmaker Magazine
I mean, that would make me crazy. Yeah, I mean there was no phone. It was really a problem, and I was all alone then, you know, and it was really crazy. And where would he go? Oh, he went to see Faulkner in the States. Yes, or he went to see Ingmar Bergman in Sweden. He would go to Italy to see Roberto Rossellini. You know, go here and there.
So he met Faulkner? And I would know about it how? Because he came back with some presents laughs and I would see if the packaging was in Italian or Swedish or whatever.
So how long would you say you guys were happy together? We were very happy while we were shooting, always. And then when you stopped shooting, it would get bad again? Yeah, you know, then he would leave. He would change his mind? I mean, you asked me to go down there for fun. Were you friends with Truffaut? Did you like him? He seemed like one of the nicer ones.
I got hysterical after being 24 hours on the road, you know? We were going backwards and forwards and then backwards again to the South of France. No, with my foot. Yeah, kicking it, the car and all that. And of course he just went to see his friends the next morning. Well, he sounds like a difficult person to be married to. So during the making of Le Petit Soldat, everything is good. You guys are falling in love. You got pregnant, and you had a miscarriage, right?
I got pregnant while we were doing the film. And then we went to the Mar De Plata film festival. I should have never made that big voyage because it was a very big trip.
And you were pregnant at the time? You lost the child? Yeah, after many months.
“Be Beautiful and Shut Up”: Anna Karina on Filmmaking with Jean-Luc Godard
I had to lay in bed. How many months pregnant? I was really badly ill. I was sick, and then I became crazy because I got operations and I wanted to make suicide and all that. Then we did Bande a part. The film focused on a group of students and engaged with the ideas coming out of the student activist groups in contemporary France.
Released just before the May events, the film is thought by some to foreshadow the student rebellions that took place. Week-end[ edit ] That same year, Godard made a more colorful and political film, Week-end.
It follows a Parisian couple as they leave on a weekend trip across the French countryside to collect an inheritance. What ensues is a confrontation with the tragic flaws of the over-consuming bourgeoisie. The film contains some of the most written-about scenes in cinema's history. One of them, an eight-minute tracking shot of the couple stuck in an unremitting traffic jam as they leave the city, is cited as a new technique Godard used to deconstruct bourgeois trends.
Week End's enigmatic and audacious end title sequence, which reads "End of Cinema", appropriately marked an end to the narrative and cinematic period in Godard's filmmaking career. Politics[ edit ] Politics are never far from the surface in Godard's films.
One of his earliest features, Le Petit Soldat, which dealt with the Algerian War of Independencewas notable for its attempt to present the complexity of the dispute rather than pursue any specific ideological agenda. Along these lines, Les Carabiniers presents a fictional war that is initially romanticized in the way its characters approach their service, but becomes a stiff anti-war metonym. In addition to the international conflicts Godard sought an artistic response to, he was also very concerned with the social problems in France.
The earliest and best example of this is Karina's potent portrayal of a prostitute in Vivre sa vie. In s Paris, the political milieu was not overwhelmed by one specific movement. There was, however, a distinct post-war climate shaped by various international conflicts such as the colonialism in North Africa and Southeast Asia. Godard has been accused by some of harboring anti-Semitic views: Cieply makes reference to Richard Brody 's book, Everything is Cinema: The Working Life of Jean-Luc Godard, and alluded to a previous, longer article published by the Jewish Journal as lying near the origin of the debate.
Moses, when he received the commandments, he saw images and translated them. Then he brought the texts, he didn't show what he had seen. That's why the Jewish people are accursed. Godard's views become more complex regarding the State of Israel. InGodard traveled to the Middle East to make a pro-Palestinian film he didn't complete and whose footage eventually became part of the film Ici et ailleurs.
In this film, Godard seems to view the Palestinian cause as one of many worldwide Leftist revolutionary movements.
Elsewhere, Godard has explicitly identified himself as an anti-Zionist but has denied the accusations of anti-Semitism. Furthermore, there are two scenes in Pierrot le fou that tackle the issue.
The first is a scene that takes place in the initial car ride between Ferdinand Belmondo and Marianne Karina. Over the car radio, the two hear the message "garrison massacred by the Viet Cong who lost men". Marianne responds with an extended musing on the way the radio dehumanizes the Northern Vietnamese combatants.
In the same film, the lovers accost a group of American sailors along the course of their liberating crime spree. Their immediate reaction, expressed by Marianne, is "Damn Americans! We can put on a play. The ensuing sequence is a makeshift play where Marianne dresses up as a stereotypical Vietnamese woman and Ferdinand as an American sailor. The scene ends on a brief shot revealing a chalk message left on the floor by the pair, "Long live Mao!
Bertolt Brecht[ edit ] Godard's engagement with German poet and playwright Bertolt Brecht stems primarily from his attempt to transpose Brecht's theory of epic theatre and its prospect of alienating the viewer Verfremdungseffekt through a radical separation of the elements of the medium in Brecht's case theater, but in Godard's, film.
Brecht's influence is keenly felt through much of Godard's work, particularly beforewhen Godard used filmic expression for specific political ends. For example, Breathless ' elliptical editing, which denies the viewer a fluid narrative typical of mainstream cinema, forces the viewers to take on more critical roles, connecting the pieces themselves and coming away with more investment in the work's content.
In many of his most political pieces, specifically Week-endPierrot le Fouand La Chinoisecharacters address the audience with thoughts, feelings, and instructions.
Karl Marx in film A Marxist reading is possible with most if not all of Godard's early work. Godard's direct interaction with Marxism does not become explicitly apparent, however, until Week End, where the name Karl Marx is cited in conjunction with figures such as Jesus Christ.Vivre sa vie (1962) - oval portrait
A constant refrain throughout Godard's cinematic period is that of the bourgeoisie's consumerismthe commodification of daily life and activity, and man's alienation —all central features of Marx's critique of capitalism. It was standard practice for them to see three or four films per day, or to spend an entire day in a single theatre.
As Godard later wrote, 'the cinema screen was the wall we had to scale to escape from our lives'. Post-war Paris was a place of great philosophical and political debate. The dominant intellectual figure was Jean-Paul Sartre, a prolific writer and advocate of Existentialism, who poured forth novels, plays, philosophical essays, literary criticism and political commentary. Sartre believed it essential, after the experience of the war, that writers become engaged with politics, taking sides if necessary.
In his case that meant siding with the far left. As a keen filmgoer and commentator on cinema himself, Sartre was opposed, along with most of the left, to the great influx of American films that flooded Paris after the war, seeing it as a sign of American cultural imperialism.
Bazin, who believed passionately in the 'objective reality' of the film image, believed that long takes and the use of deep focus, as opposed to the use of editing and montage, produced a more faithful vision of the world. While both these thinkers influenced Godard, a younger critic proved even more of an inspiration. He had made his name as a critic with three articles for the magazine La Revue du cinema in which he attempted to formulate an ambitious and comprehensive theoretical definition of the cinema.
La Gazette du cinema lasted for only five editions before it folded. Godard contributed to almost every issue. Still only nineteen years old, he was already writing complex articles and reviews, which revealed an assured and original view of cinema. In his longest article, entitled Towards a Political Cinema, he argued that cinema was not just a representation of reality but part of the reality itself.
In another piece, he stated: For him, cinema had become a transformational experience in which the distance between the viewer and what occurred on the screen no longer existed; by watching films you were already part of them. Godard began by assisting Rohmer and Rivette with their first short films.
In Decemberin order to avoid the draft, Godard claimed Swiss citizenship and joined his father on a trip to New York and from there on through the West Indies to South America. Far from relishing these new experiences, by all accounts he spent most of his time abroad alone in his room reading. Nevertheless his wanderings in South America, which he never spoke about, lent him an air of mystery and adventure when he returned to Paris in April Truffaut was one of those who noticed Godard appeared more taciturn and withdrawn than he had been before though passion for cinema was just as strong as ever.
He accused Bazin of wanting to sacrifice this essential technique, used so skilfully by directors such as Howard Hawks, in the interest of theoretical prejudice.
Anna Karina on love, cinema and being Jean-Luc Godard's muse: 'I didn’t want to be alive any more'
Following his release he went to live with his mother, who, through a friend, managed to get Jean-Luc a job doing manual labour on a dam construction site. While working on the dam, Godard had the idea of making a film about it. He financed the film from his wages, hiring a cameraman to film it, and editing it and voicing the commentary himself. As he hoped, the corporation behind the building of the dam bought the film for publicity purposes and he was able to quit his job there.
With the money he earned Godard moved to Geneva and made a low budget short, Une Femme coquette. The film, based on the story Le Signe by Maupassant, tells the story of a married woman who imitates the gesture of a prostitute in order it pick up a man. The theme of prostitution was one Godard would return to again and again in his career.
Rise of the Hitchcocko-Hawksians With two films under his belt and some money in his pocket, Godard was ready to return to Paris. On arriving in the city at the start ofhe discovered things had changed profoundly for his circle of friends and colleagues.
He and the other critics at the magazine, who included Claude ChabrolJacques Rivette and Eric Rohmer, were known for their love of American cinema, especially the work of hitherto unrecognised directors like Alfred Hitchcock and Howard Hawks, and their promotion of the 'politique des auteurs'.
Godard wasted no time in contributing articles of his own to Cahiers on some of his favourite auteurs such as Otto Preminger and Nicholas Ray. While Bazin continued to commend the long take for its approximation to physical reality, Godard praised editing for rendering the subjective essence of reality.
A well-edited film, he asserted, was more truthful to life than the uninterrupted scene — rather than portraying a close representation of reality, it seemed to provide the experience of reality itself. Keen to establish himself as a filmmaker in his own right, Godard had returned to Paris with a page screenplay under his arm entitled Odile the name of his mother who had recently tragically died in a road accidentbut the producer Pierre Braunberger read it and advised him it was unfilmable.
Instead, in common with his Cahiers colleagues, he took advice from Roberto Rossellini, the Italian neo-realist director who had befriended the group, exhorting them to follow neorealist principles and base their films on the reality of their own lives. Developing A Style Working with Rohmer, Godard sketched out a series of short films revolving around a pair of young women, Charlotte and Veronique. Unknown to him the two women are roommates who discover his duplicity the next day when they are walking in the park together and catch him picking up a third girl.
Truffaut had filmed an improvised comedy in and around the floodwaters that briefly surrounded Paris in February Embarrassed to be making a comedy amidst the devastation and unsure how to finish the film, Truffaut handed it over to Godard, who, later in the year, edited the footage into some kind of continuity, and wrote dialogue and a voice over which was later dubbed.
This text, rich in puns, references and quotations, combined with unexpected editing and soundtrack juxtapositions, made the film a surprisingly prescient forerunner of his future film style.
A Waiting Game While Godard experimented on shorts, his friends were making increasing inroads into the professional film business.
He arranged to have Godard hired in his place, a move that proved fortuitous in a number of ways. He also met and befriended the producer Georges de Beauregard, an association crucial to his future career. In the summer ofafter leaving Fox, Godard took over from Truffaut — who was about to make his own first feature — as film critic at the magazine Arts.
Through other contacts he also picked up additional freelance work as an editor and scriptwriter. However, finding anyone willing to fund his own feature projects proved more difficult and as his Cahiers colleagues, including now Jacques Rivette and Eric Rohmer, went into production on their own full-length films, he become increasingly frustrated at his lack of progress.
Then, in the spring ofeverything changed overnight. Suddenly everybody was talking about a New Wave in French cinema. Breathless Two years before, Truffaut had sketched out an idea for a low budget film based on the true-crime story of Michel Portail, a petty criminal who had stolen a car, shot a motorcycle policeman who pulled him over, and hid out for almost two weeks until he was found in a canoe docked in the centre of Paris. One aspect of the story that had appealed to Truffaut was the fact that Portail had an American journalist girlfriend he had tried to convince to run away with him, who had instead turned him into the police.
Truffaut had collaborated with both Chabrol and Godard on the story but had failed to interest any producers. Now Godard asked if he might revive the project as a feature. Truffaut not only agreed but also helped to convince Georges de Beauregard to produce the film. Beauregard, in debt after two flops, managed to persuade a distributor to come up with a small amount of money with which to make the film.
Returning to Paris, Godard immediately began casting for the film. Nevertheless, she was encouraged by her husband, a French attorney with directing ambitions of his own, to accept the role.
Persuading Columbia to lend her out for the film proved less easy, but again her husband stepped in and managed to convince the studio to accept a small cash payment for her participation.
His original plan had been to use the outline as it was and merely add dialogue to it. On the page the screenplay resembled a classic American film noir, but Godard, after years of making films in his head, would transform it, principally through the way he filmed it, into something radically different.