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on 29 June 2001
Like many of Godard's early films this is essentially a hommage to the beauty of his then wife Anna Karina. It is playful like much of the early nouvelle vague films and was mostly written the night before shooting giving it a very immediate feel. The narrative is largely non-existent but we are still taken in by the eccentricities of the characters and the love triangle played out before us. The story tells of the relationship between Anna Karina's character and her two men, Jean-Paul Belmondo and Jean-Claude Brialy. She can't make up her mind, they can't make up their minds, we can't make up our minds but who cares. Cinema at its most innocent yet most knowing. A joy
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VINE VOICEon 3 August 2013
Une Femme est Une Femme is Godard's homage to American musical comedy a la Lubitsch in a widescreen colour film. One of his earlier popular films in which his muse/wife, Anna Karina, lights up the screen with her vivacity.She is one of the star actors,the others being,Anthony Breily as Emile,her lover and Belmondo as Alfred,Emile's best friend.The story is the love triangle formed around Angela(Karina)who works as an exotic dancer in a sleazy nightclub,only she wants to have a baby,but Emile will not oblige,so she is drawn to Alfred,who is keen to impregnate Angela.Godard has fun, exploiting all the techniques he has learned,making clever allusions to other films like An American in Paris.He refers to fellow new waver Truffaut's films Jules et Jim and Shoot the Piano Player, and even his own 1st film Breathless out of pride.He also uses headings: "Everything will go wrong for them because they love each other."Godard chafing not against romance but the idea of romance.He does voiceovers with his own voice.

Karina does no more dancing than she does in Vivre Sa Vivre and Bande a Part,and only sings one song.Michel le Grand's music scores the film,Charles Azvanour is on the Juke Box.The dialogue is improvised,scatty,ragamuffin, the primary colours are bright.Farce organises the episodes so action is speeded up at times. Angéla and Émile have their arguments about the matter; at one point, as they have decided not to speak with each other, they pull books from the shelf and, pointing to the titles, continue their argument.It's a valentine to Karina,a total construction,and to all women,the sheer otherness of women,the idea of a woman,or at least Godard's idea of one. The punning punchline at the end Brialy calls Karina shameless: "Tu es infâme!" Sweetly, she corrects him: "Non, je suis une femme." There are visual jokes, references to other movies ,song-and-dance numbers and silent-comedy routines. An intoxicating expression of that devotion, and of the idea, more liberating then than now, that movie love was the stuff that movies could be made of.Karina's presence lights up Godard's passion for movie experimentation,with light frolicsome fun.A brash wink to 60s cinema,knowing addresses to the audience,never before seen.Light,aesthetic,appealing.
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on 15 June 2011
A Declaration of love to Anna Karina and a joy of a movie. This one made me realize Godard had another side. A funny, enjoyable film. For me, in this film Goddard has my complete devotion, this film is why I left my opinion aside from films like Le Mepris and Alphaville (the only ones from this period available in Brasil for a long time in VHS format) which were a bit similar in mood. Not that I don't like these latter films but is good to know he was open to other things and not just stuck into that heavy stuff. In AWIAW, his brechtian techniques don't disturb the story at all and seems part of the film. Godard is so famous and when you watch his films for the first time you think: My God, the film has such an amateur acting, the music stops in the middle of the action, jump-cuts abounds...Why this so untalented person is so famous. But soon you realize this is all intentional and you start to get his numerous cinema's history visual and literal citations (sometimes annoying) in all his films. Some actors had the talent to low the brow of his films and here we have a powerful trio: Jean-Paul Belmondo, Anna Karina and Jean-Claude Brialy.
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on 26 February 2010
Great music score, great colour film making, great cast, with Brially outstanding, an essential angle on JLG's talent. Full of charm and a nice period feel. One of his best.
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on 21 March 2014
Watched this after watching Pierrot Le Fou and really liked it. Completely different, but still good! If you're getting into French Film, this is a good one to start off!
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on 26 August 2014
perfect condition. love the film, and the bonus photo gallery!
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on 22 September 2015
The disc arrives in a clear sleeve, no case so I was disappointed.

The movie is great. A french film, very elegant, humorous and quirky. Worth the watch and a must for any anna karina/french film lover. Please take note that this film is in subtitles, NOT in english. (but this add's to the feel of the film)
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on 27 October 2009
Whimsical nouvelle vague film. An acquired taste. Only Jean Paul Belmondo is really good in it.
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on 16 August 2009
I like Goddard's work just as much as the next man, but this . . . .

I know that every great artist is allowed one mistake but this has to rank as one of the worst movies ever. Admittedly it is adventerous, for its time but Goddard's methods only heighten the fact the irritation one gets from sitting through this.

It's a pretty short film but watching it seemed like an eternity.

Anna Karina is truely awful in this.

It is not a film to introduce you to Goddard and if you are a fan but havn't seen this, take my word for it. Ask Amazon for the money and then chuck the bloody thing!
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