Godard observes Nana's daily routines using a documentary feel that beautifully captures the subtle nuances that make up Nana as a person. She doesn't always make good choices and her life is not a conventional one, but no one can seem to give her any useful help or advice.
Adding to the clever dialogue scenes, music drops in from nowhere at odd times, as if it were a Greek Chorus making Nana's journey to self both mythic and tragic . One of Vivre Sa Vie's iconic sequences is an extended dance scene capturing Nana with a handheld camera as she struts around a pool room defying three irritated men in her outburst of life. And it isn't just these three men she is defying, she is daring the audience to judge her.
Anna Karina and Godard's camera operator Raoul Coutard capture pure beauty in the following clip of Nana's dance scene:
There is a childish joy inside Nana but Godard and his camera always remind us of the world outside waiting to steal it.
|Anna Karina and Jean-Luc Godard at the 1963 Cannes Film Festival|
This is my fourth installment of The French New Wave movement. To read more about this check out my blogs on Elevator To The Gallows, Breathless, and The 400 Blows.Inspired further reading:
Roger Ebert's review from his list of Great Movies
Vivre Sa Vie: The Lost Girl by Michael Atkinson
An Audacious Experiment: The Vivre Sa Vie Soundtrack by Jean Collet