The release this week of Godard's 1963 uber-artsy Vivre sa Vie ("My Life to Live!") should mean a lot to fans of French New Wave cinema, even the poseurs like me who just like it because all the women are beautiful and everyone smokes and never show their teeth, for good reason. And of all the beautiful women of the new wave, Anna Karina stands out for her unconscious savvy and button-nose cute meets existentially adrift persona. The hipster intellectual's Bardot, Karina is a mythic archetype for the ages, the poster girl for Godard's most appreciated and legendary output of the early 1960s, including Band of Outsiders, Pierrot Le Fou, Alphaville, A Woman is a Woman, and Made in the USA. She's beautiful in all of them, but only in My Life to Live is she elevated truly to the special realm of sacrificial object--the ultimate screen goddess set upon the altar of, forgive me for using this word, the "gaze."
blu-ray disc from Criterion, you can notice abundant new and shatteringly depressing things: the dust and emptiness of the run-down pool halls and cafe arcades; the rickety realness of old phone booths, sun-faded scotch tape marks on pinball and cigarette machines, real coffee cups glittering with thumb prints, spirits in the cigarette smoke; the terrible flatness of Parisian life witnessed through cafe windows; the narrow, sloping streets that seem to have no sky over them due to the sloping, provincial and ancient architecture encumbered with urban exhaust fume grime made so blu-ray clear in Criterion's excellent restoration that you can smell the unregulated car emissions, the tang of fresh newspapers, croissants, and coffee; the acrid haze of Gauloises -- and most of all, Anna's big round head, shorn of her girly tresses in a smart bob, like a castrated Samsonette, crowding out the space at every turn, as if we can never quite escape the perfect isolation of her cranium.
This is the most heady of all Godard's films, if you'll pardon the expression; cinematographer Raoul Coutard cuts off her chin rather than the top of her head in close-up, as if she's seeing and existing and being seen directly from her shadowed skull, a woman who like many actors and actresses, sees herself not from within or via a mirrored ego ideal but as an object of the camera's interest, 24/7, always aware of how they look related to who might be looking. Her black smooth hair fills up the foreground of the screen at least half the running time, flattening out the horizon. I never really noticed this on the crappy Koch Lorber DVD, which I thought way back in the early days, was the bees-knees. Now I wretch when I think I ever found any of it beautiful. Blu-ray makes everything shockingly apparent -- the lunch naked on the fork -- that beauty and reality's ugliness meet never to disentangle.
No matter how many times you've seen a film like this, seeing it anew on blu-ray is like seeing it for the first time. And this new first time, Vivre sa Vie depressed me like never before. One feels with this flattened image and black hole of a hair-style, trapped. Rarely does Godard show off Karina's figure in any leering sort of way, preferring to focus on her button-nose face, the shockingly tobacco-stained teeth that sometimes appear when she laughs; the way her eyes dilate in and out with a mix of fear, excitement and attraction and queasy dread when she's interviewed by her new pimp.
The issue of prostitution is very hard to deal with in a cinematic frame, especially when the woman being lowered into the seediness of it all is so beautiful and regal. It's easier when she's made up to look like a Aileen Wuornos, as I wrote in 2004 about Monster:
Prostitution is itself "acting," as in to not just engage in sex for money but also (assumedly) to seem to enjoy it. Indeed, a prostitute may actually enjoy herself during the contracted sexual act as long as she pretends she is only pretending. There may be a moment during the paid-for sexual act when the prostitute is completely "herself," which is to say, completely subsumed into her role as a sex worker pretending to enjoy sex. An actor onstage is likewise 100% safely hidden as far as drawing attention to her own enjoyment. She cab rest assured that no one on stage is going to break character and remind her she owes them money, or is gaining weight. In the entrapped stage with its dialogue already written she is free to actually become her character, in perfect safety, with no one to know when and if she crosses over into the sublime.
It is ultimately then, the lack of access to a camera that makes the prostitute "worthless" as an actress. For an audience of one there can be no Oscar.
Like Joan's, Anna's sad lonely fate is all but set in stone, and she seems to realize it both as an actress and a character. She will die or get old and pushed aside for the next generation of doomed pretty Parisian faces--Isaballe Adjani, Isabelle Huppert, for example (both of whom appear while very young in early 1980s Godard films)--but also be enshrined forever in the silver screen pantheon, an altar where her virginal beauty can be sacrificed again and again, in clearer and clearer digital reproductions, long after all of us, too, have stepped off that pirate plank into that swirling sea below.