Vivre Sa Vie 1962 123movies

Watch: Vivre sa vie: film en douze tableaux 1962 123movies, Full Movie Online – This film explores a Parisian woman’s descent into prostitution. The movie is comprised of a series of 12 “tableaux”– scenes which are basically unconnected episodes, each presented with a worded introduction..
Plot: Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
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Ratings:

	7.9/10 Votes: 32,353
	88% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 511 Popularity: 11.233 | TMDB

Reviews:

Vivre sa vie was Jean-Luc Godard’s fourth feature film. The protagonist Nana (Anna Karina) is a young Parisian woman who is not especially bright, but full of life and endowed with great beauty. Unable to make ends meet by working at a record shop, and unable to break into films as she dreams, she starts to work as a prostitute. Postwar French law permitted prostitution, with certain rules and regulations that the film explains in a documentary-like segment. Nana, who yearns to live her life according to her own desires, initially thinks that this new profession has set her free from cares. In fact, Nana’s liberation from penury through prostitution only subjects her to new constraints imposed by her pimp and clientele. The film, divided into twelve tableaux with fade-to-black transitions that quicken as it goes on (which one commentator compares to breathing faster and faster) brings us to one of the most shocking endings I have ever seen.

This is a superlative film. Clocking in at 85 minutes, it lasts exactly as long as its story demands, with not a single moment that feels superfluous. Everything fits together, perfectly even things that ought to seem extraneous, the overindulgence of the auteur. Early in the film Nana goes to see Carl Dreyer’s 1928 silent film La Passion de Jeanne d’Arc, and this is not a mere gratuitous tribute to earlier cinema as is common in French New Wave films. Nana speaks with an elderly philosopher in a café, who is in fact the real-life philosopher Brice Parain whose dialogue here consists of his own writings, and yet this is not shallow intellectualism. Rather, these scenes increase the three-dimensionality of Nana as a character: not very intelligent and with negligible education, an easy woman since long before the film begins, but feeling strongly that there must be more out there.

The believability of Nana as a character is increased all the more by Anna Karina’s masterful performance. When coming to Godard’s films, after the filmmaker has taken a beating from some circles, one might think that Karina was simply a beauty with no especial talent that enchanted the director due to her looks and foreign origin. Nope, the Danish actress here presents a completely believable Parisian airhead who is so easily moved by sentimental art.

It’s Jean-Luc Godard at the avant-garde of filmmaking. It’s a brilliant film with so many new ideas for early the 60s. What else is there to say?

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.

Other Information:

Original Language fr
Runtime 1 hr 20 min (80 min), 1 hr 23 min (83 min) (Portugal), 1 hr 23 min (83 min) (UK), 1 hr 25 min (85 min) (USA), 1 hr 19 min (79 min) (West Germany), 1 hr 23 min (83 min) (restored integral) (Germany)
Budget 64000
Revenue 24517
Status Released
Rated Not Rated
Genre Drama
Director Jean-Luc Godard
Writer Marcel Sacotte, Jean-Luc Godard
Actors Anna Karina, Sady Rebbot, André S. Labarthe
Country France
Awards 3 wins & 2 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.37 : 1
Camera Mitchell Cameras
Laboratory Société Éclair, France
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm