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Vivre Sa Vie
(1962)
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Title: Vivre Sa Vie (1962)
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Cast
| Cast overview, first billed only: | |||
| Anna Karina | ... | ||
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Sady Rebbot | ... |
Raoul
(as Saddy Rebbot)
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André S. Labarthe | ... |
Paul
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Guylaine Schlumberger | ... |
Yvette
(as G. Schlumberger)
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Gérard Hoffman | ... |
Le chef
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| Monique Messine | ... |
Elisabeth
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Paul Pavel | ... |
Journaliste
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Dimitri Dineff | ... |
Dimitri
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Peter Kassovitz | ... |
Le jeune homme
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Eric Schlumberger | ... |
Luigi
(as E. Schlumberger)
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Brice Parain | ... |
Le philosophe
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Henri Attal | ... |
Arthur
(as Henri Atal)
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Gilles Quéant | ... |
Premier client
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Odile Geoffroy | ... |
La serveuse de café
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Marcel Charton | ... |
L'agent de police
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Plot Summary
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Add Synopsis
Storyline
This film explores a Parisian woman's descent into prostitution. The movie is comprised of a series of 12 "tableaux"-- scenes which are basically unconnected episodes, each presented with a worded introduction. Written by Alan Katz <katz@panther.middlebury.edu>
Genres:
DramaParents Guide:
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Details
Country:
FranceLanguage:
FrenchRelease Date:
20 September 1962 (France) See more »Also Known As:
My Life to Live See more »Filming Locations:
Paris, FranceBox Office
Budget:
$64,000 (estimated)Company Credits
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company contact information
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Technical Specs
Runtime:
| (restored integral)Sound Mix:
MonoColor:
Black and WhiteAspect Ratio:
1.37 : 1
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Written by Jean Ferrat and Pierre Frachet
Sung by Jean Ferrat
Conducted by Alain Goraguer
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Did You Know?
Trivia
Jean Ferrat plays a cameo as a man playing his own song, 'Ma môme', on the jukebox. See more »Soundtracks
"Ma môme"Written by Jean Ferrat and Pierre Frachet
Sung by Jean Ferrat
Conducted by Alain Goraguer
See more »
This has become my favourite Godard. It doesn't have the jazzy razzamatazz and classic Paris shots of A bout de souffle, or the invigorating Marxist politics of Tout va bien, or the beautiful scenary, beautiful body and beautiful music of Le Mepris, but it has a softness and a depth that are just haunting. It has a documentary quality in its most reflective moments, when we see Nana lighting a cigarette or undoing her cardigan. It is a film that is made up of disparate strands - poetic, documentary, melodramatic. It both creates Nana as star of the piece, with her sweet smile, beautiful coats, and cropped hair, and even, at one point, identification with Joan of Arc, yet undermines this to underline how ordinary, how vulnerable, even how banal she is. If you're new to Godard, start with this.