Word: godard
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...compare Sa Vie Vivre with Suzie and Irma is of course heresy: the American films are in middle-brow technicolor while Godard's is in avant-garde black and white. Their endings reflect this difference: while Suzie and Irma live happily ever after, Nana dies...
Another problem in characterization arises because Godard tries to present Nana's life as an example of a way to salvation. In. her attempt to combine the roles of philosopher, sexual deviant and refugee from Feiffer's world, she seems too pathetic to be a model...
...Godard stumbles with his characterization, he stuns with his camera. His scencs are always precisely composed and his camera angles reveal intelligence and inventiveness. Nothing is superfluous; when sound is unecessary, the film runs in absolute silence. When a machine gun fires, the frames jump in the same staccato. The film is divided into tweive titled episodes; the exposure as well as the focus fades emphatically with the concluding line of each episode. Alternating sequences of an early Dreyer film clip and Godard's modern celluloid contrast sharply with each other...
...LIFE TO LIVE. A young wife turned prostitute seeks her strangely satisfying salvation in the pursuit of pleasure, a racy theme developed with unblemished artistry by French Director Jean-Luc Godard, maker of Breathless...
...LIFE TO LIVE. A young wife turned prostitute seeks her salvation in the pursuit of pleasure, a racy theme developed with unblemished artistry by French Director Jean-Luc Godard, maker of Breathless...