Of the French New Wave directors I have watched, Godard (Breathless) seems to be the most unique and innovative. You know you are watching more than just a film when you see his pictures, you are experiencing art. I can't tell you exactly what makes Vivre Sa Vie great other than it is different, different in the way it is shot, different in the way it is told, different in the way it feels. And if this were shot in smell-o-vision 4D, it'd probably smell a little funky too.
In short, Vivre Sa Vie is about a young woman named Nana who aspires to become an actress but instead falls into prostitution. The film is broken down into twelve chapters, each one digging deeper into Nana's descent into this underworld. She discusses matters with her ex-husband. She works at the record store. She has trouble paying rent. She takes in her first client. She finds herself a pimp. There is even a chapter devoted to explaining the rules and customs of prostitution. Further and further Nana spirals into the abyss.
Stylistically the film is quite unique. The very first glimpse of Nana is in the opening credits where we see an extreme close up of her face, in a cross between mug shot and magazine cover. Anna Karina, then Godard's wife, is featured prominently like a model, her meticulously shaped hair, her flawless skin and those deep penetrating eyes.
Then as the film begins for real, we no longer see her close up but see her from the back facing away from the camera. An entire conversation is shot only seeing the back of their heads. We can steal occasional glimpses of their faces through the mirror. What is Godard trying to tell the viewer in this shot? Perhaps that we can observe Nana from afar but will not be able to read her? Perhaps it is a metaphor for her prostitution, we get this impersonal glance at her, but nothing more. Or maybe Godard just wanted to be different. Regardless of how you read it, immediately we can see that this film will be different and it is. Like Breathless, Vivre Sa Vie sort of has a documentary feel, thanks to a hand held camera rather than the traditional mounted one. This camera follows Nana around throughout this journey and we are treated to some great shots. There is this shot of her smoking a cigarette while with a customer. There is the scene when a man smokes and they kiss and she exhales it. There is the shot of her in the theater watching The Passion of Joan of Arc.
The film is shot in crisp black and white. Many people who say they hate black and white don't realize just how beautiful black and white photography can be and often times it looks much better than color. Anna Karina's face literally glows on screen in some instances, an effect that can only be done in black and white.
Another distinct feature of this film is its use of music. The main score recurs over and over throughout. It is a powerful and tragic sounding melody that seems to be used to highlight the emotion of a scene.
A couple scenes that popped out to me is when Nana plays the jukebox and starts to dance. She looks so sexy and she has so much energy and joy in her, the only time in the whole film where it looks like she is enjoying herself. Another scene is when her pimp gives a detailed run down of how prostitutes work, how much they should charge, how often they change sheets in the hotel rooms, how many customers they average a day, etc.
I hate to admit it, but this film may just be too smart for me. Reading critics' discussion of this film only further proves that I am just an amateur at best, not just as a critic but as a writer as well. They go into some really heavy stuff that I'm still trying to wrap my brain around. I've watched the conversation between Nana and the philosopher twice now and I still don't really get what they are talking about. I'll gladly give a dollar to anyone who can explain it to me like an eight year old.
Yet despite not understanding themes and metaphors and interpreting scenes wrong and just flat out not getting it, I still somehow found enjoyment in the film. I was instantly drawn to Nana's character and her plight. I was captivated by the visual style and accompanying music. I appreciated the intellectual discourse even though I wasn't a part of it.
Grade: B+
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