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The Current Wave has been assessed in every bright capacity, and using every comely criterion imaginable, but what makes the Unusual Wave the most beguiling of cinematic phenomenon is that, in essence, it is a declaration of the treasure of cinema, through cinema itself.
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AWOMAN IS A WOMAN (”Une Femme est une Femme”), Godard’s third film, is as great a milestone as his absorb “Breathless” two years earlier. The basic premise is effectively that of a kitchen sink drama; an exotic dancer’s (Anna Karina) whim to have a baby is met with consternation by her boyfriend (Jean-Claude Brialy), who is further dismayed when she asks a mutual friend (Jean-Paul Belmondo) to act as a surrogate father.
But the neo-realist background gives plan to a film shot in intrepid, giddy colours and synchronised to Legrand’s harebrained soundtrack - A WOMAN IS A WOMAN is best described as a musical with no singing. Actors frequently affect choreographed like stances and positions, their conversations punctuated with overtly dramatic interventions from Legrand’s fetch. Our heroine expresses her desire to appear in an American musical, “with Gene Kelly and Cyd Charisse”, before adopting the relevant deportment for the approval of the audience, who are constantly consulted, bowed to, winked at and cavorted with by actors revelling in front of Godard’s lens.
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It is Godard’s preference for the actor, in favour of the character, that makes A WOMAN IS A WOMAN an unparalleled experience in spontaneity. Filmed without a script, the actors wear their gain clothes and concoct their acquire dialogue. Belmondo in particular frolics in the new-found fame gifted to him by Godard, expressing his wish to be point to when “they’re showing Breathless on television”, and grinning at the audience as he namedrops novel acquaintance Burt Lancaster. Later, he meets Jeanne Moreau in a bar, and asks her “how JULES ET JIM is coming along”.
And it is with Truffaut’s masterpiece that A WOMAN IS A WOMAN shares its significant raison d’être - the embodiment of femininity through a splendid and formidable singularity, in this instance Anna Karina, whose whims, mood-swings and impetuosity are her honest and privilege as a woman, as all women. “Women have a honest to dodge issues, men don’t”, she tells Brialy, shortly after decreeing the stupidity of new women, “these women who imitate men”. A smile turns to a frown or a sprint in the blink of an seek, and attend again fair as snappily, in an infectiously jubilant and touching performance that is among cinema’s most though-provoking. Karina, the original wave bride, worked with husband Godard on seven of his greatest films, but it is this unbelievable and dizzying cinematic cocktail that is Godard’s most translucent adore poem to an unbelievable actress touched by an impulsive genius and unusual beauty.
Along with JULES ET JIM, Jacques Demy’s LOLA and Godard’s hold BAND A Share, A WOMAN IS A WOMAN is the most energizing and uplifting of all Unique Wave films. Both gleeful and baffling, it is essentially summed up by Brialy himself, who towards the film’s palatable conclusion declares: “I don’t know if this is a comedy or a tragedy, but it’s a masterpiece”
Can Godard’s sixties films be anything less than sensational? ” A Woman is a Woman ” remains one of his most blooming, a glorious cinematic hymn to the Hollywood musical, and a celebration of his then wife, Anna Karina. Karina plays Angela, a nightclub stripper who yearns for a baby. Her practical boyfriend, Emile (Jean-Claude Brialy) insists that they marry first, and in her frustration she turns to Emile’s friend, the romantic Alfred (Jean-Paul Belmondo) …
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Seldom has the frail cliché of the savor triangle been filmed with such verve and innovation, and the movie is laughable, tragic, tickled and black, and ultimately triumphant. The performances are improbable. Brialy is fair as the boyfriend torn between his like for Angela and his stubborn pragmatism and Belmondo is typically chilly, complete with frail cigarette permanently dangling from his mouth. Both male leads are peripheral however, for this is Karina’s movie, as she examines the complexities of life and the difficulties of being a woman.
Technically, Godard is at his most roguish, employing his usual array of comely cinematic devises - there are visual gags galore, fluid tracking shots, Raoul Coutard’s garish photography ( Godard’s first film in colour ), a soundtrack of deliberately exaggerated broad band music that seeming appears and disappears at any given moment, and the kind of referential cinema that Godard loves. There are nods towards Francois Truffaut and his films ” Jules et Jim ” and ” Shoot the Piano Player ” and at one point Belmondo mentions a screening on TV of ” Breathless “, Godard’s groundbreaking first feature.
Like nothing you’ve ever seen before, ” A Woman is a Woman “, is a time capsule no doubt, but definitely a masterpiece for all time…
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