….we never see each other any more, it’s completely stupid. Yesterday I went to see Claude [Chabrol] shoot, it was terrible we had nothing to say to each other. Like in the song : in the pale light of dawn there isn’t even any friendship. We’ve taken off for our own planet and we no longer see each other in close up but only in long shot. The girls that we sleep with separate us more each day instead of bringing us together. It’s not normal….
[Godard : A Portrait of The Artist – At seventy by Colin MacCabe]
Colin MacCabe writes “Anna Karina, the star of seven of the twelve films that Godard made between 1960 and 1966 and his first wife…one of the greatest creative achievements in the history of the cinema.” Their relationship was a classic example between a man and his woman – a man with high intense creative energies & strong personality constructing his universe by taking a meaninful and richer support from his woman. “Une Femme est une femme”, the most joyful and exuberant of Godard’s films captures the lively & youthful spirit of Karina. During this filmmaking, both Godard and Karina were obviously madly in love, it was a love, which was always, according to Karina, tempestuous – “on the moon or in hell”.
Godard made the fullest use of Karina’s occasional awkwardness and melancholically withdrawn beauty by emphasizing them as a distinctly stated expression of fragility and vulnerability in a woman, which is a far more desirable feminine trait in the universe, which is so deplorably driven by the need to attain Perfection all around. His adoration for such genuine feminine charm in a woman is palpable – in “Vivre sa vie“, Nana intently listens to her lover as he reads Edgar Allan Poe’s The Oval Portrait, and her face remains stable, frozen and lucid, as a translucent rendition of the ultimate dilemma, a lover would face when he has to allow his cherished love to perish.
Related links on my blog : Nana (Anna Karina in Godard’s “Vivre Sa Vie”)