Une femme est une femme (Jean-Luc Godard, 1961)

Only fitting to do my first review on a film by one of my favourite directors, Jean-Luc Godard:

I couldn’t resist watching this film again. So light and funny. But at the same time it really draws a thin line between tragedy and comedy. Une femme est une femme is the second Godard film I watched (Vivre sa vie was the first). After I was just gobsmacked at the pure genius and originality of Vivre sa vie (which I also plan to revisit), I was intrigued by Godard but it wasn’t until this delightful film, which has become one of my favourites, that I decided that Godard was someone I wanted to explore further and I’ve come a long way since I saw it for the first time. For one, I’m much more familiar (if that’s even possible) with Godard’s style and approach to film and although the initial “shock” may have sort of worn off, I’m still in awe of his films, even when I see a film again, but particularly when I watch one of his films I haven’t seen before (and luckily for me, he’s made so many!).

Anyway, this film is pretty much about Angela (Anna Karina) who wants a baby but her boyfriend Émile (played by Jean-Claude Brialy - I think I’m going to check out more of his films) doesn’t want a baby (until the end of the film). It’s full of cutesy expressions, even a musical piece by Anna Karina, taking full advantage of her feminine qualities. Also, I guess at the time I first saw it, I didn’t know about Jean-Paul Belmondo but he played Émile’s friend, who Angela tries to seduce in order to father her child. Of course, one of the most memorable and enjoyable scenes for me, was when Angela and Émile are exchanging insults through book titles - here's a clip from the scene:



When I first saw this film, I remember being really surprised by Godard’s inventive and different use of camera, his constant referencing but I guess watching this film again, although I saw the very cool side tracking shot (that glides across from Émile, who sort of freezes, to Angela’s expression in the kitchen), and a few times the characters addressed the camera, like Jean-Paul Belmondo’s cheeky grin, Angela’s winks and when she says to Émile, “Before we being our farce, we bow to the audience” is a classic), I didn’t feel that there was that much referencing. I guess it’s almost like this is one of his more “normal” films, compared to some of his almost abstract films, such as Le Gai Savoir - or maybe I’m just used to them? Anyway, it was a joy to watch this film once again and I look forward to more viewings!

4.5/5