Une Femme est Une Femme (1961)

After watching Une Femme Est Une Femme, a Jean Luc Godard film starring Anna Karina– Love of My and Everyone’s Life– it instantly became one of my favorite movies ever. It is visually alluring and beautiful. The story is entertaining and superficially substantial. It’s like cotton candy or popcorn– anything you’d get to eat at a carnival… AKA EVERYTHING I LOVE!

Une Femme est une Femme is magical to watch because every aspect of it– from the actors to the sets to the colors– is captivating. Watching Une Femme is like watching a song or listening to a painting or reading a film.

Une Femme purports to be a musical, but it is more of a pastiche of a musical. It was definitely not a musical– not in the traditional sense.

There was music, yes. And musical numbers. And even dancing. But “musical” in the sense that scenes were punctuated by elaborate musical sequences? No.
“Musical” in the sense that there’s a fun, sing-a-long soundtrack to accompany this movie? No.

It was a musical in that the world and story inhabited by the 3 main characters– Angela, Emile and Alfred– is lyrical in its dissonance and melodic in its tragic undertones. Angela, Emile and Alfred all intricately dance around each other, with their words, their thoughts and their actions.

Anna Karina is divine and watching her is like watching a ballet, her movements are so deliberate and graceful.

This film is also clever and tongue-in-cheek.

The story being told here isn’t one that I think is totally universally relatable- A woman wants to have a baby really badly. Her boyfriend doesn’t want to do that. Her boyfriend’s best friend is in love with her and is totally willing to help her have a baby.

But the main idea is universal– love. And love is the funniest tragedy of all.


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