We, as a modern day audience become overtly excited for blockbuster films. With the use of modern day sources such as the internet, it seems embedded in our culture to give films such hype, whether it be action, comedy or romance, blockbuster films have become the only form of cinema for the mass audience to look forward to. The cinema culture is surrounded by remakes, sequels and prequels mostly motivated from one reason, money and most blockbuster that we see, par some, are underwhelming, due to the fact that these films consist of following generic conventions to just please the modern audience. Imagine if Godard films were the true excitement, imagine if the mass audience lined up to be overtly excited for a Godard film, they would most likely be treated to a highly stimulating and innovative experience. 'Vivre Sa Vie' is a film that highlights audacious filmmaking in every sense. A film that is willing to break the barriers of the cinematic universe. 'Vivre sa vie' can only be described as Purely authentic.
The story is divided into 12 episodes of a woman life, Nana, and follows her descent into prostitution.
The opening minutes introduces the film's protagonist Nana through three separate shots, portraying her face from the left, right and front. From this opening sequence, we gain a sense of awareness to Godard's innovation, presenting a simple presence that embodies a complexity of emotion, and we hope the music will in some way convey a sense of emotion, however the music abruptly seizes before we form a connection, maybe Godard is simple telling the audience to let go.
The first episode consist of Nana wanting to breakup with her lover. They engage in a simple conversation, however the way Godard presents the conversation is simply audacious and astonishing. Firstly the characters are facing backwards to the camera, they talk to each other while not in the same frame and they only exist in their individual frame. This scene, as i said, is extremely audacious, as Godard breaks the rules of cinematic discourse, while brilliantly conveying the stages of their relationship, as the separate frames highlights the loss of connection and their love only exist through the reflection of a mirror. It is most definitely one of my favourite scenes of all time.
Through the next episode, we see Nana at her work, i presume. The episode is short and simple, however the camera movements are once again brilliant, as the camera sweeps through the store continuously following Nana, it's as if the film is conscious of itself being a film. Furthermore, at the end of the episode the camera moves from Nana position to a view of the street that consist of no characters, it is simply a view, while a character speaks "You attach to much importance to logic". Superb.
As the story unfolds we see Nana become more subordinate to men, as the homage to 'the passion of Joan of arc' and the disturbing 'first man', it seems inevitably of Nana descent into prostitution. As Nana is talking to her pimp, the camera moves once again to present two faceless faces, both in line with each other. The camera slowly pans left and right to reveal Nana reaction to the pimp. Once again the camera takes on a life of it's own, only concerned with the emotions of Nana rather than other characters. Furthermore, the simply vision of Godard to establish a shot like this, and the blocking of people is amazing to watch.
Through this review i have simply interpret 'Vivre sa vie' as purely subjective, my interpretations could be completely wrong or right, but it doesn't matter, because that's the beauty of this film, it's beautifully ambiguous, it offers multiple subjective views, and the innovation is amazingly authentic. For the audience that appreciate the cinematic boundaries Godard has created, you cannot miss this.
The story is divided into 12 episodes of a woman life, Nana, and follows her descent into prostitution.
The opening minutes introduces the film's protagonist Nana through three separate shots, portraying her face from the left, right and front. From this opening sequence, we gain a sense of awareness to Godard's innovation, presenting a simple presence that embodies a complexity of emotion, and we hope the music will in some way convey a sense of emotion, however the music abruptly seizes before we form a connection, maybe Godard is simple telling the audience to let go.
The first episode consist of Nana wanting to breakup with her lover. They engage in a simple conversation, however the way Godard presents the conversation is simply audacious and astonishing. Firstly the characters are facing backwards to the camera, they talk to each other while not in the same frame and they only exist in their individual frame. This scene, as i said, is extremely audacious, as Godard breaks the rules of cinematic discourse, while brilliantly conveying the stages of their relationship, as the separate frames highlights the loss of connection and their love only exist through the reflection of a mirror. It is most definitely one of my favourite scenes of all time.
Through the next episode, we see Nana at her work, i presume. The episode is short and simple, however the camera movements are once again brilliant, as the camera sweeps through the store continuously following Nana, it's as if the film is conscious of itself being a film. Furthermore, at the end of the episode the camera moves from Nana position to a view of the street that consist of no characters, it is simply a view, while a character speaks "You attach to much importance to logic". Superb.
As the story unfolds we see Nana become more subordinate to men, as the homage to 'the passion of Joan of arc' and the disturbing 'first man', it seems inevitably of Nana descent into prostitution. As Nana is talking to her pimp, the camera moves once again to present two faceless faces, both in line with each other. The camera slowly pans left and right to reveal Nana reaction to the pimp. Once again the camera takes on a life of it's own, only concerned with the emotions of Nana rather than other characters. Furthermore, the simply vision of Godard to establish a shot like this, and the blocking of people is amazing to watch.
Through this review i have simply interpret 'Vivre sa vie' as purely subjective, my interpretations could be completely wrong or right, but it doesn't matter, because that's the beauty of this film, it's beautifully ambiguous, it offers multiple subjective views, and the innovation is amazingly authentic. For the audience that appreciate the cinematic boundaries Godard has created, you cannot miss this.