1961 Godard fun
Rating: 16/20
Plot: A stripper desperately wants to have a baby with her boyfriend, but he desperately doesn’t want a baby. That’s where the movie loses all credibility because the stripper is played by Anna Karina, a woman who nearly any male would be willing to do anything for, especially if it involved having sexual relations with her. Her boyfriend’s flirtatious buddy seems interested, probably because he’s normal, and that creates some conflict.
This one’s got shane-movies favorites Anna Karina and Jean-Paul Belmondo, the latter who looks a little like Bobby Fischer and the former who I would like to invite into every single one of my dreams. Godard creates good dreams, and he can also screw with an audience better than any other director. There’s a spontaneity to this that is infectious and refreshing although there are some people who would find it intolerable. Godard and his characters constantly remind the audience that this is all just a movie. They break into song like only characters in a musical can. Michel Legrand’s music stabs at you like a candy-coated knife, really maddening the way it comes in and out unexpectedly. A lot of the sounds and edits seem like mistakes, but you know it’s all Godard’s idea of a joke. Words appear on the screen, things like “Because they love each other, everything will go wrong for Emile and Angela.” He flashes shots of random elderly pedestrians during a conversation with the main characters, and he includes a lengthy scene where characters are just sitting at a table listening to a song (the funny “Tu t’laisses aller” by Charles Aznavour) while looking at a photograph. The fourth wall is busted repeatedly, mostly in comical ways with characters bowing to the audience, speaking directly to the audience, and, in what is one of the most erotic things I’ve ever seen in a movie, winking. Anna Karina looked directly at me and winked. And I woke up three days later in a pool of my own juices. Wait, did I write that it broke a fourth wall? This wink broke a fifth and maybe a sixth wall. And then there’s a moment where she strips because, you know, she’s a stripper, and the music she performs to sounds like the theme to Mr. Roger’s Neighborhood, something that has the potential to travel back in time and give me my first erection at the age of four. I also liked a little dance she does in a tight blue dress. Hot Tamale! I’m glad my wife doesn’t read my blog. Godard dicks around so much with this that it’s a wonder he was allowed to continue making movies, but it’s all very funny. They “I’ll go with who performs the most amazing feat” scene made me laugh, and I also liked an argument that included the words–unspoken–“pernicious mummy.” And those sounds coming from the bathroom! Oh, and I loved this conversation:
Karina: Would you rather have fish or meat for dinner?
Brialy: Fish.
Karina: What would you have preferred if you were having meat?
Brialy: I don’t know. Veal.
Karina: And if you were to have beef rather than veal, would you prefer a steak or a roast?
Brialy: A steak.
Karina: And had you answered roast, would you prefer it rare or well-done?
Brialy: Rare.
Karina (getting the roast): Well, you’re out of luck. My roast beef’s a little overdone.
That’s just beautiful and perfectly and nonsensically describes these characters and their relationship. And they trill their R’s. The introduction/opening credits were interesting, by the way–large colorful words popping rhythmically onto the screen to introduce the three leads. I wonder if it influenced Gasper Noe. This movie really isn’t Godard’s greatest achievement, but it’s a lot of fun and has this great energy.
I feel the need to point out that Anna Karina is not really naked in this movie.
