‘Une Femme Est Une Femme.’
I have chosen to write about this film, as it is one that I gained pure enjoyment from and feel that there is much to be said about the techniques, plot and overall effect it has on the audience.
The general storyline of this film is based upon a couple that are deeply in love with one another, however their relationship is found to be strained by constant bickering over trivial matters, such as how Angela cannot pronounce the letter ‘r’ correctly. Her desire to have a baby also causes severe tension and conflict between the couple.
‘Angela’, an exotic dancer, played by Anna Karina, is the main character of the film, her beauty and charisma is endearing throughout, she seduces the audience and intrigues us as her body language often gives away more than her verbal script. I feel that this relates to my abstract sculpture work, as clues hint the meaning, without expressing it openly. Angela gains love from the viewer as we empathise with her character in hope that she will eventually find the happiness she deserves.
Her boyfriend ‘Emile’, is portrayed to treat Angela with constant disrespect, by calling her names such as “bitch” and continually undermining her. From a female viewer’s perspective, it became uncomfortable to watch at times, however, it soon seemed obvious how much he loves her and that the harsh exterior was just a bid to grasp Angela’s attention- highlighting his childlike qualities.
The third significant character is Alfred. He claims to be in love with Angela, making her feelings for her boyfriend Emile even more complicated and hazed. As Emile continues to treat her unfairly, he unknowingly pushes her into the arms of another man. This leads to Alfred and Angela sleeping together; eventually triggering the realisation that the man she is truly loves is Emile.
In my opinion, the film didn’t expose a very deep plot. I feel that the director, Jean-Luc Godard was more focussed on the humour behind the storyline, as opposed to the storyline itself. The film is classed as a romantic comedy, and that it is. Throughout the 90 minute film, there are obvious attempts made to brighten the mood and contrast against the ‘rowing’ couple. One line in particular tickled the audience. It was spontaneously and almost unnecessarily stated after Angela found out that Emile was unwilling to conceive her child. As the couple turned the lights out to sleep, she said in a very abrupt and absurd way “my fanny is cold”. As the audience were faced with a plain black screen and these words alone, a very simple, yet successful humorous touch was established.
Although I find the overall storyline very unusual, I appreciate that it was made 50 years ago, being Godard’s first colour movie and therefore the quality is very raw when compared to films created today.
He has beautifully depicted the characters, providing them each with individual personalities that complement one another perfectly.
My feelings towards Emile were constantly changing throughout the film and by the end, I understood and appreciated his character and actually quite warmed to him. Rather than the rude, arrogant man he initially came across as, his softer, more charming side shone through as time went by. I believe that this was Godard’s intension; he portrayed Emile as a better person to the audience as he became a better person in Angela’s eyes. This allowed us to appreciate her decision to stay with him and view the issue from her perspective.
Godard uses the technique of ‘flashbacking’ to remind the viewer of certain events and also to reinforce the understanding of what the character is thinking. This technique is often still used in today’s film industry and works effectively to evoke memories.
Both Angela and Emile have ‘flashbacks’, echoing the idea of how deeply they were both considering the situation and how much it was occupying their thoughts.
Repetition is used thoroughly, as the couple argued in a very immature way; they often repeated actions to prove a point. For example, explaining their feelings through book titles as they refused to speak to one another and Emile’s insistence of riding his bicycle in circles around the kitchen table. Both of these techniques became slightly irritating to watch, however as they were repeated so many times, it became consequently amusing.
The music played throughout the film, provided it with a definitive French edge. As well as the opening and closing scene, music was consistently played as a way of setting the mood or accompanying actions. I feel that it often had a playful, light spirited impact.
Similar to Suzanne Philipz “low land” sound installation, the music had a profound effect on how the audience felt. http://www.youtube.com/watch?v=XCoMxUkA2aI. This clip shows the scene of when Angela and Alfred are at the cafe. As she looks at herself in the mirror, the photograph of her two lovers and experiences flashbacks, the mellow music in the background amplifies the poignant and powerful moment at hand.
When I walked into Suzanne’s artwork I felt a connection between myself and her as her voice immediately impacted on my emotions and similarly, as I entered certain scenes in this film, my mood was directly affected by the music. All in all, this film has really impressed me. I found that the French language improved and increasing its romantic style. I have enjoyed both watching and reviewing ‘Une Femme Est Une Femme’ and feel that I am able to relate elements of it with artwork of my own and other artists at ease.
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