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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