Une Femme Est Une Femme
(A Woman Is A Woman)

Godard has a field day in A Woman is a Woman. What better genre to employ Godard’s influence of Brechtian theory than a musical! The sheer rhythm of the movie is enough to give it the instant classic status and the quirky humor just adds to the effect. More than being a novel attempt, the film seems like a celebration of the New Wave with references and homage to the biggies of the 50’s. And the wild child he is, Godard doesn’t miss out on opportunities to glorify himself too! (Émile says at one point, “I don’t know if this is a comedy or a tragedy, but it’s a masterpiece“)

A Woman Is A Woman (1961)

A Woman Is A Woman (1961)

The film flows like a dew drop on a leaf with each moment topping the previous. “Expect the unexpected” would make a great tagline for the film as Godard intentionally disorients us from any predictions. And the effect works for sure. We see Angela tossing up an omelet and gathering it after a small talk. She enters a magic chamber and gets her costume changed like that. Godard seems to elicit the craziness, or rather the magic of the medium employing such moments that not only break movie traditions as we know them but also add to the radiance of the film. Godard uses blue and red colours aptly but is nowhere close to what he would do with them in his later films.

Godard, at times, interrupts key conversations with sounds and at others, interrupts sound with conversations. So, one doesn’t follow the story line closely which is precisely what Godard wants. As a result, you can’t help but enjoy the individual and “present” moments of the film for what they are rather than connecting their relevance with the past or analyzing the direction towards the future. Anna Karina at her charming best and one can see why Godard was so smitten. It is a treat watching her dance and a restrained Belmondo accompanying her.