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IMDbPro

Vivir su vida

Título original: Vivre sa vie: Film en douze tableaux
  • 1962
  • Not Rated
  • 1h 20min
PUNTUACIÓN EN IMDb
7,8/10
37 mil
TU PUNTUACIÓN
Anna Karina in Vivir su vida (1962)
Criterion Collection trailer
Reproducir trailer2:22
1 vídeo
78 imágenes
Psychological DramaTragedyDrama

Doce relatos episódicos de la vida de una mujer parisina y su lenta caída en la prostitución.Doce relatos episódicos de la vida de una mujer parisina y su lenta caída en la prostitución.Doce relatos episódicos de la vida de una mujer parisina y su lenta caída en la prostitución.

  • Dirección
    • Jean-Luc Godard
  • Guión
    • Marcel Sacotte
    • Jean-Luc Godard
  • Reparto principal
    • Anna Karina
    • Sady Rebbot
    • André S. Labarthe
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    7,8/10
    37 mil
    TU PUNTUACIÓN
    • Dirección
      • Jean-Luc Godard
    • Guión
      • Marcel Sacotte
      • Jean-Luc Godard
    • Reparto principal
      • Anna Karina
      • Sady Rebbot
      • André S. Labarthe
    • 87Reseñas de usuarios
    • 87Reseñas de críticos
  • Ver la información de la producción en IMDbPro
    • Premios
      • 3 premios y 1 nominación en total

    Vídeos1

    My Life To Live
    Trailer 2:22
    My Life To Live

    Imágenes78

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    + 72
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    Reparto principal22

    Editar
    Anna Karina
    Anna Karina
    • Nana Kleinfrankenheim
    Sady Rebbot
    • Raoul
    • (as Saddy Rebbot)
    André S. Labarthe
    • Paul
    • (as André Labarthe)
    Guylaine Schlumberger
    • Yvette
    • (as G. Schlumberger)
    Gérard Hoffman
    • Le chef
    Monique Messine
    Monique Messine
    • Elisabeth
    Paul Pavel
    • Journaliste
    Dimitri Dineff
    • Dimitri
    Peter Kassovitz
    Peter Kassovitz
    • Jeune homme
    • (as Peter Kassowitz)
    Eric Schlumberger
    • Luigi
    • (as E. Schlumberger)
    Brice Parain
    • Le philosophe
    Henri Attal
    Henri Attal
    • Arthur
    • (as Henri Atal)
    Gilles Quéant
    • Premier client
    Odile Geoffroy
    • La serveuse de café
    Marcel Charton
    • L'agent de police
    Jack Florency
    • L'homme dans le cinéma
    Alfred Adam
    Alfred Adam
      Mario Botti
      • L'italien
      • (sin acreditar)
      • Dirección
        • Jean-Luc Godard
      • Guión
        • Marcel Sacotte
        • Jean-Luc Godard
      • Todo el reparto y equipo
      • Producción, taquilla y más en IMDbPro

      Reseñas de usuarios87

      7,836.6K
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      Reseñas destacadas

      8Rockwell_Cronenberg

      Intriguing and expressive.

      So far in my exploration of Jean-Luc Godard I have remained in his masterful decade of the '60s, and as a result I've been treated mostly to films that are fun and exciting, toying with structure and cinematic conventions. Vivre Sa Vie fits firmly in his career, but it's also a surprising contrast to his other work which I have seen so far. Even in his more narratively focused Breathless, there's still a very cinematic quality to it, portraying a sense of freedom of expression and romanticism. Vivre Sa Vie strips away all of that and elects instead to present an almost documentarian look into the descent of the young Nana (Anna Karina, naturally) into prostitution.

      The structure of the film is split into twelve episodes that bring us through Nana's progression. She's a young Parisian girl working at a record shop who wants to be in the movies, but needs money to pay her rent. It's a simple story, but the way Godard tells it is what makes it so intriguing. He presents Nana as an object of desire to many but an object of interest to very few. The men around her aren't interested in what she has to say, they put up with her words in order to get to what they are really looking for, her body and ways to profit off of it.

      Karina's dance scene is classic Godard, but his unique approach to this film makes it much less freeing than in his other works. The dance in Band of Outsiders is a jaunty display of youthful rhythm and A Woman Is A Woman is loaded with fun numbers, but here the art of dance takes on an entirely different, and much more tragic, meaning. For Nana, it's a desperate plea to get attention using the only thing that she knows how, her body. In regards to the film, Godard stated, "The few episodes in her life that I am going to film are very likely of little interest to others, but most important to Nana," and I feel that he accomplished his goal very well here.

      These episodes to most would seem relatively mundane, just normal days in the life of a prostitute, conversations and interactions of the daily routine, but for Nana they mean so much more. Her trip to the cinema to see The Passion of Joan of Arc has become almost iconic in Godard's legacy, and for good reason. In this moment Godard removes us from our state as voyeurs and instead plays us into Nana's position. He displays Nana as the film viewer, presenting the kind of emotional impact and life revelation that cinema can have on someone and getting the audience to completely empathize with her. Nana becomes the audience and, as a result, the audience becomes her.

      The descent into prostitution is intriguing here, thanks in large part to the captivating and expressive work by Godard's muse, but Godard's metaphor for the life of an actress is also a fascinating theme that one can't help but notice. Displays Nana as the prostitute in her world of pimps and photographers, people passing her back and forth like a piece of meat, it certainly seems that he's making a statement on the film industry and the nature of exploitation in how actors are treated. They are passed back and forth by directors, producers, even the audience, and used for their image, much like a prostitute, and it's up to the actress to keep themselves in tact. As the opening quote of the film states, "Lend yourself to others. But give yourself to yourself".

      I've seen people refer to the film as the "morning after" state of the Godard/Karina dynamic and I think that's an interesting way of looking at it. They had collaborated several times before, and would collaborate for many years after still, but Vivre Sa Vie seems to be the most intimate and exposing look into the relationship between the two of them as lovers and the relationship between actor and director at large. It's a very introspective journey that Godard takes us on, and certainly one of the most impressive I've seen from him yet.
      9Chris_Docker

      Godard classic

      As the film opens Paul and Nana are going through a break-up. Each is filmed with their back to the camera. As Nana says she wants to die, it makes me think that, when we turn our back on the most significant person in our life, it can be like turning our backs on life itself. Such a big part of our identity is bound up with them that there seems nothing left. It is as if we have failed to heed the advice of Montaigne, quoted at the end of the opening credits: "Lend yourself to others and give yourself to yourself." Of course, Godard may not be intending for me to have such thoughts. For much of the film I get the distinct impression that he does not want me to interpret anything as anything, but just to accept it as it is. But the film, within a few minutes, has sparked off some interesting and worthwhile thought in me and I like this. It seems to be what art should do. And that it should do it simply by existing, not by trying to convey some message of its own.

      For much of the film that follows, part of my mind is taken up with enjoying the crisp black and white photography. The streets of Paris, and other simple but finely observed detail. The lustre of Anna Karina's hair – she plays Nana – is as enchanting as if I were talking to her. And maybe talking about nothing very much in particular so that my mind could wander to such things. The quality of the print is sufficient to make out individual hairs – or hairline cracks in walls and furniture.

      The overall effect – taken with some other devices that I only slowly become aware of – is to give a documentary-like feel to what the camera is seeing. Nana splits from Paul and drifts into prostitution. It happens without any big dramatics. She has been working in a record store, is having trouble paying her back rent, and, after a few other minor incidents, we see her with her first client. The look of repressed emotion on her face is one of the most stark and memorable images in the film. A bit like Edvard Munch's painting, The Scream. But sublimated into what is portrayed as a very everyday setting.

      Later, in a rapid monotone, Nana's pimp even gives us a run-down of prices, laws, regulations and practices. It is almost the Brechtian splitting of the film into twelve chapters (each with long titles telling us what is about to happen), and Godard's increasingly frequent experiments that separate the sound from the image, that remind us this is fiction, not docu-drama.

      For instance, towards the end and when Nana is with a young man she rather likes (and the attraction seems mutual, maybe love), their conversation is not heard by us but only seen on the screen as subtitles. They are communicating soundlessly perhaps, as lovers do.

      There is a long scene where she discusses the meaning of language with an old man, a philosopher (played by Godard's former philosophy teacher). Although this is outwardly quite deep, I did not find the arguments nearly as profound or rigorous as in Godard's later film, 2 or 3 Things I Know About Her. Prostitution is not used here, as it is in 2 or 3 things, as a political metaphor. Susan Sontag, in her aptly titled essays, Against Interpretation, suggests that it is, "the most radical metaphor for the separating out of the elements of a life – as a testing ground, a crucible for the study of what is essential and what is superfluous in a life." She sees Nana as having divested herself of her old identity and taken on her new identity – that of a prostitute.

      In the version I watched, quite a few lines were omitted from the English subtitling, so my smattering of French came in useful. But I needed some of the subtler French puns on the 'life' and 'chickens' pointed out to me.

      As the film came to its not untypically Godard-like abrupt ending, I wondered for a minute if it was as great as some people often claim. The celebrated critic Roger Ebert, for instance, singles it out as one of the great movies of all time. My mind wandered to such movies as Last Year at Marienbad, and Jules and Jim, both made about the same time and which have left quite a deep impression on me. But only for a minute.

      Vivre Sa Vie is different, yet again, to any other work by Godard. But it is deceptively unassuming, and a remarkably solid piece of work for all its sense of transience (Godard compared cinema to a train rather than the station). It can also be seen as a love letter from Godard to his wife, the beautifully photographed Anna Karina.
      9TheFamilyBerzurcher

      The Summary of Sixties Godard

      The crux of 60's Godard. His quirks are broken down into twelve segments manageable for the inexperienced viewer. If only one Godard film is to be watched, it might be this one. Though none of us would want to live in that world.

      The film opens with an entrancing first ten minutes. The credit sequence and ensuing scene introduce the crucial theme of acting versus reality. Nana, played by Anna Karina, seems to never truly escape the personality of the actress who portrays her. Instead of avoiding this, Godard embraces the ambiguity and creates an entire film that obsesses over Karina's image. From the credits to "Fin"? the audience, like Nana, is fixated on her outward appearance. She constantly references her desire to be in movies and have her picture taken. Ultimately, she becomes a prostitute, seemingly the only place to turn for a girl who allows herself to be mercilessly controlled by men. This tragedy is underscored by her clear desire to be "special"? and, most potently, in her tearful viewing of Jeanne d'arc, a woman who faces death at the hands of men. Nana's personality and development can be seen as a vehicle for Godard's philosophy on film. The "men photographing women" had become perverted to the point of solicitation and death. The obvious parallels between the ending of VIVRE and BREATHLESS suggest a pessimistic condemnation of contemporary law and society.

      Godard's deliberate camera motion, defiant attitude towards cinematic grammar, and clear pacing created a film that, though fictional, is one of the most honest human portraits available. Always experimenting with sound, the director never succumbs to standard over-the- shoulder dialogue sequences. Instead, he accesses another level of meaning by making deliberate choices over who is seen when saying specific words. Sometimes there are cuts and sometimes there are pans, but never is there a decision that seems arbitrary or purely for the sake of ease. While Godard's films do own a simple and unashamed quality that might lend itself to less expensive filmmaking, it is clear that his choices serve specific purposes and are always a slave to the greater objectives in the film. One of the most striking scenes in VIVRE SA VIE is where Nana is writing a letter. It is a simple act on which most directors would only spend a few seconds. Instead, Godard places a close-up on the letter and allows the audience to watch the entire process and become engulfed in Nana's (or Karina's) beautiful handwriting and the earnest quality of the letter.

      VIVRE SA VIE successfully provides a tidy summary of Godard's quirky brilliance. For those willing to explore his genius, this film is the ideal starting place (if not working chronologically). But be careful. Once his capabilities are discovered, they will never leave you.

      89.8
      6TheCorniestLemur

      I won't deny Godard is talented, but...

      Yes, this is something I had to watch for uni, could you tell?

      Amazingly, even though I'm in my second year, this is the first Godard film I've seen, and while I can definitely say I love his direction, I can't say much else about this really grabbed me.

      It's only 80 minutes long, but even then I was getting a little bored by the end, and I think it can only be put down to the fact that for all the many gorgeous shots that ensure Anna Karina has as much room as possible to show off her performance (which is really good to be fair), I simply don't care about her.

      There's really nothing special about the story to me, not after nearly 60 years of these kinds of dramas becoming quite common in the French New Wave's wake, and good god is the ending the very definition of an anticlimax.

      I'm also not a big fan of how the plot seems to grind to a halt every so often so the characters can have a long philosophical quote-off, and the more I think about it, the more I could have narrowed all this down to the simple fact that I don't really care about the main character, and leave it there.

      But I think I'll eventually see a Godard film that does really grab me the way this one unfortunately didn't, because he is responsible for nearly all the best parts of this film. Every shot is beautifully thought out, the editing is precise as hell, and he brought a great performance out of all the actors.

      And since I'm a film student, I give it an average of three weeks before I'm forced to see another one, so fingers crossed.
      7Artemis-9

      It's a sad world, and Godard knew it!

      My father had a lot of trouble to explain me what those men were doing, laying against the wall on a busy Sunday street, where there were a number of women in flashy clothes going up and down the street, looking at the men who passed by instead of doing window-shopping like me, and my father. It was 1954, in Lisbon. I came to know the men were pimps, and although I always respected the 'girls who were in the life', the pimp became my pet hate, to this day.

      Does Goddard make an outstanding political speech here? I'm not sure. But now I understand why everybody was speaking of his 'Nana' in the Sixties. It's a poignant story, clear and sharp, with no tears but more like a gut punch. Particularly for the (unexpected?) ending. I disagree with those who said that the 12 scenes of the movie are 'unconnected'. They are connected! But the film should be fully appreciated on a second viewing for it, may be. These days, people are not able to cope with this much philosophy in a single film.

      It's also a sad world when you discover, in 2001, that this film runs 85 minutes in the USA, 83m in Portugal, and 80m in France (it's so described in "Cinéguide" des Presses de la Cité (ed.1992). France shows the most short of the current versions of this wonderful movie about streetwalkers and pimps, about workers and profiteers; therefore, the most 'cut' or censored version - be it political or commercial censorship. France! the country that represented for me Liberty, Fraternity and Equality, when I was a 6 year-old kid opening his eyes to the beauty of chandeliers in a shop window, the beauty of girls in high-heels and knee-length skirts, and the wrongness of the half part of the world who lived without working, squeezing money of those who worked. Even if the work was - like Nana's - lending her body to other people...

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      Argumento

      Editar

      ¿Sabías que...?

      Editar
      • Curiosidades
        The whole movie script fit on one page, where the sequence of episodes was recorded. The text was not written in advance, and the actors said what was appropriate for the situation.
      • Pifias
        When Raoul and Nana meet for the first time, Raoul leaves his notebook on the cafe table by mistake and Nana opens it. The camera changes to read over her shoulder, but the sound of gunshots startles her into closing the notebook. In the next shot, the notebook is nowhere to be seen, neither in her hands nor on the table.
      • Citas

        Nana: The more we talk, the less the words mean.

      • Conexiones
        Edited into Bande-annonce de 'Vivre sa vie: Film en douze tableaux' (1962)
      • Banda sonora
        Ma Môme
        (uncredited)

        Music by Jean Ferrat

        Lyrics by Jean Ferrat

        Sung by Jean Ferrat

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      Preguntas frecuentes20

      • How long is Vivre sa vie?Con tecnología de Alexa
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      Detalles

      Editar
      • Fecha de lanzamiento
        • 20 de septiembre de 1962 (Francia)
      • País de origen
        • Francia
      • Sitio oficial
        • Les Films du Jeudi (France)
      • Idioma
        • Francés
      • Títulos en diferentes países
        • Viure la seva vida
      • Localizaciones del rodaje
        • París, Francia
      • Empresas productoras
        • Les Films de la Pléiade
        • Pathé Consortium Cinéma
      • Ver más compañías en los créditos en IMDbPro

      Taquilla

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      • Presupuesto
        • 64.000 US$ (estimación)
      • Recaudación en Estados Unidos y Canadá
        • 24.517 US$
      • Fin de semana de estreno en EE. UU. y Canadá
        • 8336 US$
        • 1 jun 2008
      • Recaudación en todo el mundo
        • 75.224 US$
      Ver información detallada de taquilla en IMDbPro

      Especificaciones técnicas

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      • Duración
        1 hora 20 minutos
      • Color
        • Black and White
      • Mezcla de sonido
        • Mono
      • Relación de aspecto
        • 1.37 : 1

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