A Woman Is a Woman Page #4

Synopsis: Angela,a striptease artist, wants to have a baby and tries to persuade her boyfriend Emile to go along with the idea. Emile will have none of it so she goes after Emile's friend Alfred.
Genre: Comedy, Drama, Romance
Director(s): Jean-Luc Godard
Production: Rialto Pictures
  2 wins & 1 nomination.
 
IMDB:
7.6
Metacritic:
71
Rotten Tomatoes:
87%
NOT RATED
Year:
1961
84 min
Website
1,602 Views


You always say yes. It's dumb.

Jesus told Matthew, "Get off the trolley

and pump up my tires. "

She's pulling your leg.

Well, I'm going to eat at Chez MarceI.

Me, too. So long, Angela.

Wait for me.

No, you bug us.

Get lost, you stupid bastards!

And me?

What am I?

Aren't you two gone yet?

Are you going with him or me?

Yes, men are just

as curious as women.

With whoever does

the most extraordinary thing.

- Well?

- It's nothing but bad theater.

You're both mean.

Never trifle with love.

- By distrusting women.

- We're splitting.

I love you.

What did you say, Angela?

I don't love you.

- Okay, Angela, that's peachy.

- Peachy and cream.

"Farewell, Camille.

Return to your convent.

All men are Iying, fickle, false,

garrulous, hypocriticaI and arrogant.

In love, we are often betrayed,

often hurt,

and often unhappy.

But we love.

And on the brink of the grave

we turn to look back and we say,

'I have often suffered,

I have sometimes been mistaken,

but I have loved.

I have lived my life

and not some substitute

forged out of my pride

and world-weariness. "'

"She exits. "

LOVELY BREASTS:

Be right back.

Why do men always leave

saying "Be right back"?

They're cowards.

It makes up for all women being ugly.

In that case, I'll sulk.

There, she's sulking.

I hope you realize I'm sulking.

I'm ignoring it on purpose.

Then there's no reason to sulk.

I'm not sulking,

so that you'll stop sulking.

Men always have the last word.

Women always act like victims.

In that case, I refuse to sulk.

Then I'll sulk.

- What do we do?

- Whatever you like.

I'll join you at the Zodiac.

If we do it, I must see you naked.

Right?

- Right.

Why? We can meet you later

at the Neptuna.

Vera Cruz is showing.

- With your paI Burt Lancaster.

To the Zodiac.

Off with your clothes.

Where do we sit?

Cheri-Bibi.

With Cheri-Bibi

you're about to discover

all the savage sensual delights

of the Amazon.

Disgusting!

- It's your friend's fault.

- Lousy music.

- When do you go on?

- In 15 minutes.

Look at Angela.

- Come here often?

- Not often.

Are you enjoying the show?

She's milk chocolate.

That's coloniaI diplomacy.

You make me sick!

In comedy,

as in tragedy, late in Act Three,

the heroine hesitates.

Her Fate is in the balance.

It's what old Corneille

and young Moliere call

suspense... ion.

You prefer me in pajamas

or an overnight-gown, my darling?

Pajamas.

I'll wear my overnight-gown.

It's more practicaI.

It's more practicaI.

What have you done now?

What did I do now?

The soap's all mushy.

No, it isn't.

- Yes, it is.

- No, it isn't.

I said it's...

Besides...

Next time, I think...

You agree?

- I agree, darling, but I think...

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Jean-Luc Godard

Jean-Luc Godard (French: [ʒɑ̃lyk ɡɔdaʁ]; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He rose to prominence as a pioneer of the 1960s French New Wave film movement.Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality", which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation." As a result of such argument, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema. In 1964, Godard described his and his colleagues' impact: "We barged into the cinema like cavemen into the Versailles of Louis XV." He is often considered the most radical French filmmaker of the 1960s and 1970s; his approach in film conventions, politics and philosophies made him arguably the most influential director of the French New Wave. Along with showing knowledge of film history through homages and references, several of his films expressed his political views; he was an avid reader of existential and Marxist philosophy. Since the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, and a Marxist perspective.In a 2002 Sight & Sound poll, Godard ranked third in the critics' top-ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He is said to have "created one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century." He and his work have been central to narrative theory and have "challenged both commercial narrative cinema norms and film criticism's vocabulary." In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired many directors including Martin Scorsese, Quentin Tarantino, Brian De Palma, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, and Pier Paolo Pasolini.From his father, he is the cousin of Pedro Pablo Kuczynski, former President of Peru. He has been married twice, to actresses Anna Karina and Anne Wiazemsky, both of whom starred in several of his films. His collaborations with Karina—which included such critically acclaimed films as Bande à part (1964) and Pierrot le Fou (1965)—was called "arguably the most influential body of work in the history of cinema" by Filmmaker magazine. more…

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Submitted on August 05, 2018

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