{"id":77314,"date":"2021-10-15T22:47:17","date_gmt":"2021-10-16T05:47:17","guid":{"rendered":"http:\/\/filmfanatic.org\/?p=77314"},"modified":"2021-10-18T00:24:37","modified_gmt":"2021-10-18T07:24:37","slug":"vivre-sa-vie-a-film-in-twelve-episodes-my-life-to-live-1962","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=77314","title":{"rendered":"Vivre Sa Vie (A Film in Twelve Episodes) \/ My Life to Live (1962)"},"content":{"rendered":"<p><strong>&#8220;I think we&#8217;re always responsible for our actions. We&#8217;re free.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poster.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poster-198x300.png\" alt=\"\" width=\"198\" height=\"300\" class=\"alignleft size-medium wp-image-77315\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poster-198x300.png 198w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poster-677x1024.png 677w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poster-85x128.png 85w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poster-178x270.png 178w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poster.png 733w\" sizes=\"auto, (max-width: 198px) 100vw, 198px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nAfter leaving her husband (Andre Labarthe), an aspiring actress (Anna Karina) eventually turns to prostitution to earn a living, working for a pimp (Sady Rebbot) with questionable morals.\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>Character Studies<\/li>\n<li>French Films<\/li>\n<li>Jean-Luc Godard Films<\/li>\n<li>Prostitutes and Gigolos<\/li>\n<\/ul>\n<p><strong>Response to Peary\u2019s Review: <\/strong><br \/>\nPeary writes that in his &#8220;exceptional fourth film&#8221; &#8212; after <a href=\"http:\/\/filmfanatic.org\/?p=5963\"><em>Breathless<\/em> (1960)<\/a>, <a href=\"http:\/\/filmfanatic.org\/?p=77383\"><em>Le Petit Soldat<\/em> (1963)<\/a> (actually completed in 1960), and <a href=\"http:\/\/filmfanatic.org\/?p=5400\"><em>A Woman is a Woman<\/em> (1962)<\/a> &#8212; Jean-Luc Godard presents &#8220;Karina&#8217;s prostitute,&#8221; a woman who &#8220;winds up a prostitute in order to pay her rent,&#8221; as &#8220;detached, not because he doesn&#8217;t care about Karina but because his remote style is meant to underscore the fact that this woman makes no emotional connection with the men she has sex with.&#8221; <\/p>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Undressing.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Undressing.png\" alt=\"\" width=\"768\" height=\"576\" class=\"alignnone size-full wp-image-77322\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Undressing.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Undressing-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Undressing-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Undressing-360x270.png 360w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><\/p>\n<p>He argues that &#8220;Godard&#8217;s point &#8212; made by the old philosopher (Brice Parapain) with whom Karina converses&#8221;: <\/p>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Philosopher.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Philosopher.png\" alt=\"\" width=\"768\" height=\"576\" class=\"alignnone size-full wp-image-77321\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Philosopher.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Philosopher-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Philosopher-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Philosopher-360x270.png 360w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Philosopher.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Philosopher.png\" alt=\"\" width=\"768\" height=\"576\" class=\"alignnone size-full wp-image-77320\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Philosopher.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Philosopher-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Philosopher-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Philosopher-360x270.png 360w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><\/p>\n<p>&#8230; &#8220;and proven to her by the young client she comes to love&#8230; is that pleasure and fulfillment come less from the sexual act than through a stronger form of communication: talking, the interchange of words.&#8221; Peary adds that &#8220;as in all early Godard films, he experiments with his camera (i.e., juxtaposing abstract and real images in order to express ideas)&#8221; and &#8220;makes thematic references to films, literature, [and] music.&#8221; <\/p>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Taylor.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Taylor.png\" alt=\"\" width=\"768\" height=\"576\" class=\"alignnone size-full wp-image-77327\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Taylor.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Taylor-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Taylor-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Karina-Taylor-360x270.png 360w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poe.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poe.png\" alt=\"\" width=\"768\" height=\"576\" class=\"alignnone size-full wp-image-77326\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poe.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poe-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poe-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Poe-360x270.png 360w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><\/p>\n<p>While this film isn&#8217;t a personal favorite, I appreciate both Godard&#8217;s innovative style and Karina&#8217;s gripping performance. Even in an elusive role meant to distance us somewhat (Godard&#8217;s approach to her prostitution lifestyle is strictly clinical), Karina&#8217;s humanity shines through, and she&#8217;s a pleasure to watch on screen.  <\/p>\n<p><strong>Notable Performances, Qualities, and Moments: <\/strong><\/p>\n<ul>\n<li>Anna Karina as Nana<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Crying.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Crying.png\" alt=\"\" width=\"768\" height=\"576\" class=\"alignnone size-full wp-image-77329\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Crying.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Crying-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Crying-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Crying-360x270.png 360w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><\/li>\n<li>Raoul Coutard&#8217;s cinematography<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Cinematography.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Cinematography.png\" alt=\"\" width=\"768\" height=\"576\" class=\"alignnone size-full wp-image-77318\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Cinematography.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Cinematography-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Cinematography-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Cinematography-360x270.png 360w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Dance.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Dance.png\" alt=\"\" width=\"768\" height=\"576\" class=\"alignnone size-full wp-image-77323\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Dance.png 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Dance-300x225.png 300w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Dance-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2021\/10\/Vivre-Sa-Vie-Dance-360x270.png 360w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/a><\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nYes, for Karina&#8217;s performance. <\/p>\n<p><strong>Categories<\/strong><\/p>\n<ul>\n<li>Important Director<\/li>\n<li>Noteworthy Performance(s)<\/li>\n<\/ul>\n<p> (<span style=\"color:red;font-weight:bold;\">Listed in <a href=\"http:\/\/filmfanatic.org\/?page_id=1458\"><em>1001 Movies You Must See Before You Die<\/em><\/a><\/span>) <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"https:\/\/www.imdb.com\/title\/tt0056663\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.criterion.com\/current\/posts\/1448-vivre-sa-vie\">Criterion Essay<\/a><\/li>\n<li><a href=\"https:\/\/www.criterion.com\/current\/posts\/1441-vivre-sa-vie-the-lost-girl\">Criterion Essay: The Lost Girl<\/a><\/li>\n<li><a href=\"https:\/\/www.criterion.com\/current\/posts\/1442-an-audacious-experiment-the-soundtrack-of-vivre-sa-vie\">Criterion Essay on the Soundtrack<\/a><\/li>\n<li><a href=\"http:\/\/www.qnetwork.com\/review\/2372\">Q Network Review<\/a><\/li>\n<li><a href=\"https:\/\/www.tcm.com\/tcmdb\/title\/84351\/my-life-to-live#articles-reviews?articleId=88884\">TCM Article<\/a><\/li>\n<li><a href=\"https:\/\/www.dvdtalk.com\/dvdsavant\/s866vivre.html\">DVD Savant Review<\/a><\/li>\n<li><a href=\"https:\/\/www.tvguide.com\/movies\/my-life-to-live\/review\/2030058281\/\">TV Guide Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;I think we&#8217;re always responsible for our actions. We&#8217;re free.&#8221; Synopsis: After leaving her husband (Andre Labarthe), an aspiring actress (Anna Karina) eventually turns to prostitution to earn a living, working for a pimp (Sady Rebbot) with questionable morals. Genres, Themes, Actors, and Directors: Character Studies French Films Jean-Luc Godard Films Prostitutes and Gigolos Response to Peary\u2019s Review: Peary writes that in his &#8220;exceptional fourth film&#8221; &#8212; after Breathless (1960), Le Petit Soldat (1963) (actually completed in 1960), and A&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=77314\"> 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":[3],"tags":[],"class_list":["post-77314","post","type-post","status-publish","format-standard","hentry","category-responses-to-peary"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/77314","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=77314"}],"version-history":[{"count":11,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/77314\/revisions"}],"predecessor-version":[{"id":77451,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/77314\/revisions\/77451"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=77314"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=77314"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=77314"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}