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A Woman Is a Woman

ओरिजिनल टाइटल: Une femme est une femme
  • 1961
  • Not Rated
  • 1 घं 25 मि
IMDb रेटिंग
7.3/10
20 हज़ार
आपकी रेटिंग
Jean-Paul Belmondo, Jean-Claude Brialy, and Anna Karina in A Woman Is a Woman (1961)
Trailer for the new 4K restoration of Jean-Luc Godard's A WOMAN IS A WOMAN, starring Anna Karina, Jean-Paul Belmondo, and Jean-Claude Brialy. rialtopictures.com
trailer प्ले करें1:02
2 वीडियो
99+ फ़ोटो
क्वर्की कॉमेडीरोमांटिक कॉमेडीकॉमेडीड्रामारोमांस

अपनी भाषा में प्लॉट जोड़ेंA stripper who's desperate to become a mother accepts her reluctant boyfriend's suggestion that she be impregnated by his best friend.A stripper who's desperate to become a mother accepts her reluctant boyfriend's suggestion that she be impregnated by his best friend.A stripper who's desperate to become a mother accepts her reluctant boyfriend's suggestion that she be impregnated by his best friend.

  • निर्देशक
    • Jean-Luc Godard
  • लेखक
    • Geneviève Cluny
    • Jean-Luc Godard
  • स्टार
    • Anna Karina
    • Jean-Claude Brialy
    • Jean-Paul Belmondo
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.3/10
    20 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Jean-Luc Godard
    • लेखक
      • Geneviève Cluny
      • Jean-Luc Godard
    • स्टार
      • Anna Karina
      • Jean-Claude Brialy
      • Jean-Paul Belmondo
    • 51यूज़र समीक्षाएं
    • 78आलोचक समीक्षाएं
    • 71मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • 2 जीत और कुल 2 नामांकन

    वीडियो2

    Trailer [English SUB]
    Trailer 2:07
    Trailer [English SUB]
    A Woman is a Woman - Rialto Pictures Trailer
    Trailer 1:02
    A Woman is a Woman - Rialto Pictures Trailer
    A Woman is a Woman - Rialto Pictures Trailer
    Trailer 1:02
    A Woman is a Woman - Rialto Pictures Trailer

    फ़ोटो105

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
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    + 100
    पोस्टर देखें

    टॉप कलाकार14

    बदलाव करें
    Anna Karina
    Anna Karina
    • Angela
    • (as Karina)
    Jean-Claude Brialy
    Jean-Claude Brialy
    • Émile Récamier
    • (as Brialy)
    Jean-Paul Belmondo
    Jean-Paul Belmondo
    • Alfred Lubitsch
    • (as Belmondo)
    Henri Attal
    Henri Attal
    • Faux Aveugle #2
    • (बिना क्रेडिट के)
    Karyn Balm
      Dorothée Blanck
      Dorothée Blanck
      • Prostitute 3
      • (बिना क्रेडिट के)
      Catherine Demongeot
      Catherine Demongeot
      • Magazine Girl
      • (बिना क्रेडिट के)
      Marie Dubois
      Marie Dubois
      • Angela's Friend
      • (बिना क्रेडिट के)
      Ernest Menzer
      Ernest Menzer
      • Bar Owner
      • (बिना क्रेडिट के)
      Jeanne Moreau
      Jeanne Moreau
      • Woman in Bar
      • (बिना क्रेडिट के)
      Nicole Paquin
      • Suzanne
      • (बिना क्रेडिट के)
      Gisèle Sandré
      • Prostitute 2
      • (बिना क्रेडिट के)
      Marion Sarraut
      • Prostitute 1
      • (बिना क्रेडिट के)
      Dominique Zardi
      Dominique Zardi
      • Faux Aveugle #1
      • (बिना क्रेडिट के)
      • निर्देशक
        • Jean-Luc Godard
      • लेखक
        • Geneviève Cluny
        • Jean-Luc Godard
      • सभी कास्ट और क्रू
      • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

      उपयोगकर्ता समीक्षाएं51

      7.319.9K
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      फ़ीचर्ड समीक्षाएं

      ThreeSadTigers

      Godard's first masterpiece; a colourful pastiche of Hollywood film-making and the woes of modern life

      For me, Godard is easily the greatest living filmmaker; the most radical and revolutionary, one of the few director's whose work is so defiant, unique and idiosyncratic that he can go without credit on some of his greatest films - Weekend (1967) and Hélas pour moi (1993) to name just two - and yet, the work is always distinctive, exciting and immediately identifiable. Une femme est une femme (1961) was Godard's first film in colour and also his first in cinema scope, and he uses both of these devises to the fullest of their capabilities. As a result, it is one of the most important films of his career, sowing the seeds of creativity that would give way to later films like Le Mepris (1963), Pierrot le fou (1965) and La Chinoise (1967), and in the process creating a unique and entertaining film that rewards repeated viewings, whilst simultaneously remaining true to the filmmaker's progressive, cinematic intent. Like much of Godard's earlier work, the preoccupations here are almost entirely referential. He's still trying to revolutionise the format somewhat - playing with codes and conventions, simplifying character and narrative to an almost ironic degree and creating the drama from an accumulation of scenes - but there is also something more playful going on alongside a genuine love of cinema that is all too often overshadowed by the cynicism in his more recent work, such as Slow Motion (1980) and the underrated In Praise of Love (2001).

      At first glance, the story of Une femme est une femme would seem to be incredibly sweet; a play on relationship difficulties and notions of love, honour and friendship wrapped up in the eternal battle of the sexes in a way that makes for great, light-hearted farce. However, on closer inspection, the giddy production design and typically imaginative use of mise-en-scene seem to be presenting a number of abstractions that draw our eye away from the deeper themes behind the film and the characters that are introduced. Like Jean Pierre Jeunet's Amélie (2001), the colourful format and child-like games being played by both character and filmmaker alike seem to be hiding darker notions that point towards ideas of loneliness, emasculation and dissatisfaction. With this in mind, we must ask ourselves if Godard's playful references and elements of sardonic pastiche are intended to be seen as something chic, or are they instead more in tune with the escapism presented by a film like Lars von Trier's Dancer in the Dark (2000), in which musical sequences and the air of American melodrama is used as an exit point for the hopelessness of the central character.

      With this interpretation it is important to look at the character of Angela, a strip-club artist in a tempestuous relationship with the cold and chauvinistic Emile. Angela delights in playing games with Emile and with the audience as well; acting out her existence as if trapped between the continually juxtaposing worlds of the sitcom and the Hollywood musical as a desperate attempt to derive a simple sense of pleasure from a life that seems entirely joyless. She believes her relationship with Emile can be salvaged by the birth of a child, but when Emile seems unwilling and unaccommodating she turns to his best friend Alfred and begins yet another duplicitous game between the two. This throws something of a shadow over the character of Angela, her name itself creating an ironic juxtaposition as she plays the two men off against each other in an attempt to get what she wants. These issues would appear in subsequent Godard films, from Vivre sa vie (1962) to Slow Motion, with the depiction of women as performers, and indeed, women as prostitutes, seemingly allowing themselves to be put-upon in an attempt to get what they really want. Unsurprisingly, these are serious themes and issues with real dramatic weight that could, in the hands of a lesser filmmaker, have been used to mine a path of social-realist melodrama. Godard is more shrewd than that and presents the film as a carefree farce that is continually undercut by the distancing and distracting use of both audio and visual experimentation.

      Despite the darker and more despairing thematic issues presented by the script, the tone of the film and the central performance from Anna Karina as Angela is undoubtedly bubbly, with its vibrant conversations, imaginative use of role playing and blithe musical interludes. However, the film is still reliant on Godard's iconic use of early deconstructive elements, with jarring and dissonant bursts of music, random jump cuts, provocative inter-titles filled with sardonic wit and devious puns, and the appropriation of numerous genre characteristics and stylistic cross-references to offset the story at its most basic level. Regardless of such personal interpretations, the film works just as well if taken at face value, with the boundless energy and imagination of Godard and his crew, the playful references to Truffaut and the relationship between the burgeoning French New Wave and its roots in Hollywood B-pictures, and the fantastic performances from Karina, Jean-Claude Brialy and Jean-Paul Belmondo.

      Without question, Une femme est une femme could be seen as Godard's first true masterpiece. It is funny, witty, clever and insightful - filled with imaginative vignettes and the infectious sense of joie de vivre that only great film-making can present - whilst beneath the surface we find all manner of hidden depths and avenues of interpretation that remind us of the filmmaker's particular sense of genius. Regardless of your interpretation, the final moments of Une femme est une femme, with that devilish last line, visual pun and wink to the camera is a masterstroke from Godard; one that works within the context of the film as a frothy attempt at jovial farce, whilst simultaneously reinforcing the darker side of Angela's character and the empty life that she leads. As the character herself proclaims halfway through; "I don't know if this is comedy or tragedy... but it is a masterpiece".
      6gavin6942

      Not Godard's Finest, In My Opinion

      A French striptease artist (Anna Karina) is desperate to become a mother. When her reluctant boyfriend (Jean-Claude Brialy) suggests his best friend (Jean-Paul Belmondo) to impregnate her, feelings become complicated when she accepts.

      Godard declared this triangle "an excellent subject for a comedy à la Lubitsch" and, in fact, the Belmondo character is named Alfred Lubitsch, which is no subtle tip of the hat. This is Lubitsch with an eccentric French touch.

      Only the third of Godard's films (he made many, many more), it is not really my favorite by a long shot. It has some of the quirkiness of his other films (especially early on when the music seems to be completely unaware of the movie). But it just never really hits home for me.
      8DennisLittrell

      New wave romantic comedy: cute, playful

      Godard is beginning to grow on me. Maybe it's because I'm watching his films from the sixties, made when I was a teenager in France, and the nostalgia appeals to me. Maybe it's because his work seems free and easy, uncontrived, almost amateurish compared to some other famous film makers. Or maybe it's just that I like this particular pretty girl he features.

      She is pretty, gangly Anna Karina starring as Angela, an exotic dancer who is madly in love and wants to have a baby. Godard has a lot of fun with her, encouraging her to mug for the camera, getting her to do movements that cause her to trip and look not just gangly and very young like a pre-adolescent, but even clumsy--and then to leave the shots in the film, probably telling her, "This is a comedy. You need to be not just beautiful, but funny, warm, vulnerable." Karina does manage a lot of vulnerability. Her exotic act including her singing is...well, there are usually only a handful of customers in the joint and so her skills are probably appropriately remunerated. Again this is intentional since Godard wants her to be just an ordinary girl without any great talent, someone with whom the girls in the audience can identify. But the irony is that the girl must needs be at least pretty. Karina is more than pretty. She is exquisite with her long shapely limbs and her gorgeous countenance.

      One of the compelling nostalgic elements is the way women did their eyes in the sixties: so, so overdone! Although I thought that look was oh so sexy then, today I would like to clean the blue, blue--or is it purple?--eye shadow and the black, black mascara off of Karina's face and see her au naturel! But it is the sixties in Paris--Gay Paree, Paris in the Spring, the City of Light! Well, 1960 to be exact, which really is more like the fifties than the sixties if you know what I mean. Everything is so innocent, Ike still in the American White House, De Gaulle the triumphant hero of France. Algeria and Vietnam completely offstage of course--this is a romantic comedy. The German occupation, the horrific world war and its aftermath are distant memories for Angela and her friends who were only children then. Life is young, the girls are pretty, the boys are cute, prosperity is upon them. It's Godard's Paris. Life is playful. Life is fun. You tease and you have no real worries. The Cold War is of no concern. The 100,000 or so American troops still stationed in France to support the troops in Germany are not seen. But Godard's love affair with the mass American culture is there in little asides and jokes. Emile or Alfred (I forget which) asks Angela what she would like to hear on the jukebox. "Istsy-bitsy bikini," he offers. No. She wants Charles Aznavour. She wants romance and an adult love that leads to marriage and maternity.

      Angela's beloved is Emile played with a studied forbearance by an eternally youthful Jean-Claude Brialy. He doesn't want to father a baby, at least not yet. She pouts, she makes faces, she threatens, she burns the roast and drops the eggs, she crosses her arms, and she gives him the silent treatment. It doesn't work. He prefers to read the Worker's Daily. Ah, but will Alfred (Jean-Paul Belmondo, who seems intent on out boyish-ing Brialy) pull himself away from TV reruns of "Breathless" to do the job? Will she let him? Is Emile really so indifferent as to allow his friend carnal knowledge of his girlfriend? Is this a kind of threesome, a prelude to a menage a trois? Watch for a shot of Jeanne Moreau being asked how Truffaut's film Jules et Jim (1962) which she was working on at the time, is coming along, a kind of cinematic insider jest that Godard liked to include in his films. She gives a one word reply, "Moderato." See this for Anna Karina, and see her also in Godard's Band of Outsiders (1964) in which she looks even more teenager-ish than she does here. She is not a great actress, but she is wondrously directed by Godard who was then her husband.

      (Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
      kami_k

      With Full Breath

      A Woman is a Woman belongs to the period when Godard was playful, uninhibited and really a wild child of the movies. So when he made a musical, in fact he made a childish and free imitation of a musical that at the same time showed, in an Godardian analytic way, how the Hollywood musicals usually depict life and love. In the film characters love and evade committing to love at the same time. There is music by Legrand and spontaneous looking movements which are aspirations to dance but at the same some oblique realism is at work. As with Godard, fantasy and realism interact in a dialectical way so that both seem indistinguishable after a while.

      The trio of Brialy, Belmondo and Karina is great but Karina is obviously unique in that she makes the whole subject of performance seem out of place. She is there playing innocent, dumb, inviting, sad etc. and again at the same time she seems NOT THERE as though her mind is some place else. Her big eyes work and shine all the time but they don't give away the character. There is no argue about Godard's style which after so many years and so many innovations in the language of film has remained fresh and unsurpassed in vitality and an acute understanding of "Films as Games" or rather "Life depicted as a game within a game". However watching A Woman is a Woman after some years I still wonder at the their cinematic child: Acting as a sort of being there and being free to feel the film, breathing the air of movies. The plot is as unimportant as it can be. In its place moments show up, little but infinitely joyful moments of adults looking like teenagers amused and fascinated by the thought of being in a musical comedy. Was Godard the biggest daydreamer of the cinema or what?
      7Mort-31

      Playful to the full

      Yet Godard made some films which were more intelligent (or included more intelligent people), this one is definitely one of the funniest. Parodizing some aspects of the genre of musical comedy, there is not very much singing and dancing performed on screen, but the dialogues and actions are often quite absurd, or exaggerated, or not quite realistic, just like a song in a musical.

      This is why at times it seems that Anna Karina's character is a little dumb, whereas in some dialogues she reminded me of Brigitte Bardot in Le mépris, who is cruel but not at all stupid. Convincing characters are not the most important thing in Une femme est une femme.

      Playful camera work, playful use of music. A short and entertaining Godard film (really!), which nevertheless provides masses of material to be interpreted by New Wave lovers.

      इस तरह के और

      Vivre sa vie
      7.8
      Vivre sa vie
      Le petit soldat
      7.1
      Le petit soldat
      Pierrot le fou
      7.4
      Pierrot le fou
      Bande à part
      7.6
      Bande à part
      Contempt
      7.4
      Contempt
      Une femme mariée: Suite de fragments d'un film tourné en 1964
      7.1
      Une femme mariée: Suite de fragments d'un film tourné en 1964
      Masculin féminin
      7.4
      Masculin féminin
      La chinoise
      6.9
      La chinoise
      Breathless
      7.7
      Breathless
      Made in USA
      6.2
      Made in USA
      Alphaville: Une étrange aventure de Lemmy Caution
      7.0
      Alphaville: Une étrange aventure de Lemmy Caution
      Week end
      6.9
      Week end

      कहानी

      बदलाव करें

      क्या आपको पता है

      बदलाव करें
      • ट्रिविया
        Jean-Luc Godard's first film in color.
      • गूफ़
        When Angela first meets Alfred on the street, the red and blue armband he wears changes from his right to his left arm between the start and end of the scene
      • भाव

        Émile Récamier: Is this a tragedy or a comedy? Either way it's a masterpiece.

      • कनेक्शन
        Edited into Bande-annonce de 'Une femme est une femme' (1961)
      • साउंडट्रैक
        Tu te Laisses Aller
        Music by Charles Aznavour

        Lyrics by Charles Aznavour

        Performed by Charles Aznavour

      टॉप पसंद

      रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
      साइन इन करें

      अक्सर पूछे जाने वाला सवाल19

      • How long is A Woman Is a Woman?Alexa द्वारा संचालित

      विवरण

      बदलाव करें
      • रिलीज़ की तारीख़
        • 6 सितंबर 1961 (फ़्रांस)
      • कंट्री ऑफ़ ओरिजिन
        • फ़्रांस
        • इटली
      • आधिकारिक साइट
        • distributor's website
      • भाषा
        • फ्रेंच
      • इस रूप में भी जाना जाता है
        • Eine Frau ist eine Frau
      • फ़िल्माने की जगहें
        • Porte St Denis, Rue du Faubourg St Denis, पेरिस, फ़्रांस
      • उत्पादन कंपनियां
        • Euro International Films
        • Rome Paris Films
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      बॉक्स ऑफ़िस

      बदलाव करें
      • बजट
        • $1,60,000(अनुमानित)
      • US और कनाडा में सकल
        • $2,09,837
      • US और कनाडा में पहले सप्ताह में कुल कमाई
        • $13,213
        • 18 मई 2003
      • दुनिया भर में सकल
        • $2,10,919
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      तकनीकी विशेषताएं

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      • चलने की अवधि
        • 1 घं 25 मि(85 min)
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        • 2.35 : 1

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