In the opening paragraph (around 14min), the heroine Angela shouted: "I played a musical with Gene Kelly and Cyd Charisse, choreographed by Bob Foss." It is one of Godard's tribute to the new trend in the film manual period. In fact, Angela herself has a mediocre singing and mediocre dance skills. While directly paying tribute to Hollywood writers and directors, she also deconstructed, subverted and satirized traditional Hollywood classical music and dance films.
At the beginning of the film, an aesthetic style with new wave characteristics also appeared. One of the obvious points is that the narrative is interrupted by the rapid jump of music, dialogue, second space, and different camera positions, which makes the film tend to be rational.
And this film is in the "Karina period" (when I was in love with Anna Karina, I co-produced 11 movies with Karina, 9 of which were when Karina was the protagonist. Therefore, Hong Sangxiu was also in front of Godard. It’s a younger brother and younger brother)”. Of course, there is essential for Karina’s viewing behavior. The whole film is like Godard savoring every movement and expression of Karina under the camera, and Anna Karina also won the Silver Bear Award for Best Actress at the 11th Berlin International Film Festival for this film. Bear Throne).
In this film, Godard also uses the actor's role and the director's perspective to say to Karina and Angela through the image of Karina: You are really unreasonable (Tu us infame)! More interesting is her reply: "No, I am a woman. (No. Je suis une femme)" cleverly used a homophonic (infame and une femme) to play a word game.
The story of the whole film is very simple: there is an unrealistic dream stripper Angela who wants a child. But her boyfriend Emil didn't need one, so she asked for help like another close friend Evory who had a crush on her for many years, and Emil became jealous at this time.
Godard called the film a song and dance film, but in fact only Angela sang a song intermittently with a monophonic a cappella while performing a striptease. And there is also the singing of Charles Aznav (the protagonist of "Shoot the Pianist", also a simple tribute) through the record. The feature of this film is to suddenly cut off and put ambient sound in the narrative sound; or suddenly amplify the ambient sound or add non-narrative sound during the dialogue. The music is unique at this moment with a sense of existence, Godard What we pursue is a sense of inconsistency between sound and picture, so that the audience is constantly pulled back to the rational level so that the audience realizes that this is a movie rather than the reality in an illusion. It is a complete falsehood, but the creation of the film is It’s true, and such a sense of form and reflexive thinking about movies has almost permeated Godard’s entire creative career. It is also not surprising that people have been criticized for “form for the sake of form”.
Godard's use of color is also very style. In the exterior scenes, he uses a lot of real-life shooting to deal with the street scenes of Paris. When he enters the interior, he adopts Hollywood studio-style color matching: the use of large primary colors, Angela's gorgeous clothing, and Bazin's The scene scheduling and the montage generated by the conflict between the interior and exterior scene are organically combined, and the dialectical meaning of conflict is constantly produced between nature and man-made. And in this film, breaking the fourth wall frequently to talk to the audience is also Brecht's and rational creative skills. And the subtitles that appear from time to time in the film are still used to remind the audience of the existence of the medium. There will even be some absurd and unrealistic plots in the film, all of which show Godard’s state of wandering among the realistic records and fantasy. To a certain extent, this film can also reveal the contradictions, conflicts, and wandering states in Godard's life creation.
The high-level fan film citing classics in this film is also very interesting after interpretation, which is consistent after "Exhausted".
The story at the end of the film is about the relationship of "three people", and Ai Fu Rui’s surname is "Liu Bieqian", which is a metaphor for Liu Bieqian's "Three People" movie "No Way in Love" and Liu Bieqian's good at "Liu Bieqian style brushwork" "It is an expression of sexual desire and sexual competition hidden in the jokes, and Jeanne Morro’s little easter egg once again pays tribute to "Shoot the Pianist" and "Ancestor and Occupy" while also echoing the "Threesome" "Relationship. And when Paul urged Angela to sleep with her, he also mentioned "Exhausted". In "Exhausted", the heroine betrayed the actor. At this time, Angela's behavior also betrayed Emil. .
Godard called the film a "new realist musical" or "non-song and dance film", which is the "concept of a musical film." This film is also Godard's first work combining "color" and "comprehensive widescreen" technology. . Perhaps it is because of being in love with Anna Karina. The film presents bright colors, rich symbols, and full of vitality. Similarly, this film has become Godard’s time in Karina, one of many series of works in his life. Milestone works that can’t be ignored in China.
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