American Cinematographer - September 2004 - 23

wood musicals and comedies. The story
a love triangle between a stripper

-

and two

men

-

is reminiscent of Ernst

Lubitsch films such

Design for Living,
further homage to
Hollywood cinema with references to
Burt Lancaster, Gene Kelly and Cyd
as

and Godard pays

Charisse. In the end, however, this riff
musicals of the studio era is as much

on
a

commentary on its own making as it is

on

the

so

well.

exquisitely maintained
custom camera packages
Arriflex/ Aaton/Canon
Photo-Sonics 4ER+

35mm/16mm/mini DV

accessories/support
lenses/speciality items
filters/expendables.
call for details.

71k

Hollywood movies Godard knows
Even before he became

a

critic

and director, Godard was fascinated
the African anthropological films

by
of

Jean Rouch, and in A Woman Is a
Woman he often seems to be attempt¬

ing his

own anthropological study of
Paris in the early 1960s. This was noth¬

ing

new

for Godard at the time -
equally concerned with

Breathless was

the rituals and habitats of young
Parisians - but Woman remains strik¬

ing in the

way

it combines realistic

content with the traditions of that most

artificial of film genres, the musical.
Godard once said that his ambi¬

tion

was

to make a "neorealist musi¬

cal," and A Woman Is

a

Woman both

satisfies and subverts the demands of
its two genres. It's a
the music is often

"musical" in which
interrupted for no
reason, and in which social reality
constantly intrudes on dance numbers
that never get a chance to begin. By the
same

token, the realism of the movie is

constantly shattered by self-conscious
flourishes that repeatedly remind the
viewer of the

camera

and

crew

record¬

ing the action.
To execute his ambitious vision,
Godard collaborated with

cinematogra¬
pher Raoul Coutard, whose importance
to the French New Wave

is indis¬

putable. (Indeed, his collaborations with
Godard resulted in several cinema land¬

marks.) Coutard

seems liberated by the
originality of Woman's premise, execut¬
ing a number of stunning tracking shots
and long takes that foreshadow his
even more inventive work on Contempt.
The camerawork includes freewheeling

iON OPTICS

handheld shots in the streets of Paris
and

precise compositions on studio
juxtaposing of these settings

sets. The

19



American Cinematographer - September 2004

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