{"id":5400,"date":"2008-03-21T12:18:55","date_gmt":"2008-03-21T19:18:55","guid":{"rendered":"http:\/\/filmfanatic.org\/?p=5400"},"modified":"2023-12-22T14:47:54","modified_gmt":"2023-12-22T21:47:54","slug":"woman-is-a-woman-a-1961","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=5400","title":{"rendered":"Woman is a Woman, A (1961)"},"content":{"rendered":"<p><strong>&#8220;I want a baby in the next 24 hours.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/Woman-is-a-Woman-Poster-1.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/Woman-is-a-Woman-Poster-1-220x300.jpg\" alt=\"\" width=\"220\" height=\"300\" class=\"alignleft size-medium wp-image-58698\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/Woman-is-a-Woman-Poster-1-220x300.jpg 220w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/Woman-is-a-Woman-Poster-1-94x128.jpg 94w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/Woman-is-a-Woman-Poster-1-198x270.jpg 198w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/Woman-is-a-Woman-Poster-1.jpg 580w\" sizes=\"auto, (max-width: 220px) 100vw, 220px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nA woman (Anna Karina) desperate to become pregnant turns to an admirer (Jean-Paul Belmondo) for &#8220;help&#8221; when her partner (Jean-Claude Brialy) refuses to take her request seriously.\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>French Films<\/li>\n<li>Godard Films<\/li>\n<li>Jean-Paul Belmondo Films<\/li>\n<li>Love Triangle<\/li>\n<li>Pregnancy<\/li>\n<\/ul>\n<p><strong>Review: <\/strong><br \/>\nAfter the phenomenal success of his New Wave debut film <a href=\"http:\/\/filmfanatic.org\/?p=5963\"><em>Breathless<\/em><\/a> in 1960, Jean-Luc Godard made what he considered to be his &#8220;first real film&#8221; &#8212; this playful yet frustrating character study-cum-musical which defiantly exploits cinematic conventions at every turn. <em>A Woman is a Woman<\/em> received mixed reviews upon its release, and continues to divide critics, with many finding it unduly wearisome and far too clever for its own good &#8212; indeed, Godard&#8217;s insistence (soon to be a trademark) on using random, often incongruous snippets of music, then cutting away to silence without warning, quickly becomes tedious, if not downright aggravating (particularly since the inimitable Michel Legrand composed the score &#8212; such as it is &#8212; here). Many other critics, however, acknowledge this as one of Godard&#8217;s most accessible and perversely likable films, a heady love note to Cinema and all its possibilities. Ultimately, <em>A Woman is a Woman<\/em> will not be for all tastes (as <a href=\"http:\/\/www.dvdtalk.com\/dvdsavant\/s1261femm.html\">DVD Savant<\/a> points out, the majority of non-cinephiles will give up on it after ten minutes), but it remains at the very least a watchable curiosity &#8212; thanks in large part to Godard&#8217;s many lingering, loving takes on Karina (his then-wife), whose expressive face is hard to resist. <\/p>\n<p><strong>Redeeming Qualities and Moments: <\/strong><\/p>\n<ul>\n<li>Anna Karina as Angela<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/woman-woman-karina.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/woman-woman-karina.png\" alt=\"\" width=\"853\" height=\"480\" class=\"alignnone size-full wp-image-5401\" \/><\/a><\/li>\n<li>A vibrant look at early 1960s Paris<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/woman-woman-paris.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2008\/03\/woman-woman-paris.png\" alt=\"\" width=\"853\" height=\"480\" class=\"alignnone size-full wp-image-5402\" \/><\/a><\/li>\n<li>Michel Legrand&#8217;s musical score &#8212; though it&#8217;s unfortunately butchered to death<\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nNo, but fans of Godard and\/or French New Wave cinema will certainly want to check it out. Listed as a film with Historical Importance in the back of Peary&#8217;s book.<\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/imdb.com\/title\/tt0055572\/\">IMDb entry<\/a><\/li>\n<li><a href=\"http:\/\/www.boston.com\/movies\/display?display=movie&#038;id=2492\">Boston Globe Review<\/a><\/li>\n<li><a href=\"https:\/\/www.rogerebert.com\/reviews\/a-woman-is-a-woman-2003\">Roger Ebert&#8217;s Review<\/a><\/li>\n<li><a href=\"https:\/\/www.nytimes.com\/1964\/09\/19\/archives\/film-festival-new-wave-at-its-crest-woman-is-a-woman-is-best-so-far.html\">NY Times Review<\/a><\/li>\n<li><a href=\"http:\/\/www.dvdtalk.com\/dvdsavant\/s1261femm.html\">DVD Savant Review<\/a><\/li>\n<li><a href=\"https:\/\/www.timeout.com\/movies\/une-femme-est-une-femme\">Time Out Capsule Review<\/a><\/li>\n<li><a href=\"https:\/\/www.tcm.com\/tcmdb\/title\/96151\/a-woman-is-a-woman#articles-reviews?articleId=1117793\">TCM Article<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;I want a baby in the next 24 hours.&#8221; Synopsis: A woman (Anna Karina) desperate to become pregnant turns to an admirer (Jean-Paul Belmondo) for &#8220;help&#8221; when her partner (Jean-Claude Brialy) refuses to take her request seriously. Genres, Themes, Actors, and Directors: French Films Godard Films Jean-Paul Belmondo Films Love Triangle Pregnancy Review: After the phenomenal success of his New Wave debut film Breathless in 1960, Jean-Luc Godard made what he considered to be his &#8220;first real film&#8221; &#8212; this&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=5400\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5400","post","type-post","status-publish","format-standard","hentry","category-reviews"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/5400","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5400"}],"version-history":[{"count":9,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/5400\/revisions"}],"predecessor-version":[{"id":94224,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/5400\/revisions\/94224"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5400"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5400"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5400"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}