IMDb > Une Femme Mariée (1964)
Une femme mariée: Suite de fragments d'un film tourné en 1964
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Une Femme Mariée (1964) More at IMDbPro »Une femme mariée: Suite de fragments d'un film tourné en 1964 (original title)

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Overview

User Rating:
7.4/10   2,135 votes »
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View company contact information for Une Femme Mariée on IMDbPro.
Release Date:
4 December 1964 (France) See more »
Genre:
Tagline:
She Loves Two Men...She is Married to One! See more »
Plot:
Charlotte is young and modern, not a hair out of place, superficial, cool; she reads fashion magazines - does she have the perfect bust... See more » | Add synopsis »
Plot Keywords:
Awards:
1 nomination See more »
User Reviews:
A tale of adultery with some remarkable camera work, and Godard's first rebuke of the rising tide of consumerism in the 1960s See more (10 total) »

Cast

  (in credits order)

Bernard Noël ... Robert, the Lover

Macha Méril ... Charlotte

Philippe Leroy ... Pierre, the Husband

Christophe Bourseiller ... Nicolas (as Chris Tophe)

Roger Leenhardt ... Himself
Margaret Le Van ... Girl in Swimming Pool (as Margaret Le-Van)
Véronique Duval ... Girl in Swimming Pool

Rita Maiden ... Madame Celine
Georges Liron ... The Physician
rest of cast listed alphabetically:

Jean-Luc Godard ... The Narrator (uncredited)

Directed by
Jean-Luc Godard 
 
Writing credits
(in alphabetical order)
Jean-Luc Godard 

Cinematography by
Raoul Coutard 
 
Film Editing by
Andrée Choty 
Françoise Collin 
Agnès Guillemot 
Gérard Pollicand 
 
Production Design by
Henri Nogaret 
 
Production Management
Philippe Dussart .... production manager
Jeanne Marie Olivier .... assistant production manager
Maurice Urbain .... production manager
 
Second Unit Director or Assistant Director
Hélène Kalougine .... assistant director
Jean-Pierre Léaud .... assistant director
Claude Othnin-Girard .... assistant director
 
Art Department
Joseph Gerhard .... set designer
 
Sound Department
Antoine Bonfanti .... sound
Robert Cambourakis .... sound assistant
René Levert .... sound
Jacques Maumont .... sound
 
Camera and Electrical Department
Bernard Largemain .... key grip
Georges Liron .... camera operator
Marilù Parolini .... still photographer (as Marie-Lou Parolini)
Georges Pierre .... still photographer
 
Costume and Wardrobe Department
Laurence Clairval .... costumer
 
Music Department
Ludwig van Beethoven .... composer: stock music
 
Other crew
Christine Brierre .... press attache
Catherine Savignac .... script supervisor
Suzanne Schiffman .... script supervisor
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Une femme mariée: Suite de fragments d'un film tourné en 1964" - France (original title)
"A Married Woman" - USA (informal literal title)
"The Married Woman" - USA (poster title)
See more »
Runtime:
Argentina:96 min | USA:94 min | France:95 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:M | Finland:K-16 (cut) | Germany:12 (re-rating) | Portugal:(Banned) | Sweden:15 | UK:X (original rating) | UK:15 (video) | West Germany:18
Filming Locations:

Did You Know?

Movie Connections:
Soundtrack:
Three to Get ReadySee more »

FAQ

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1 out of 1 people found the following review useful.
A tale of adultery with some remarkable camera work, and Godard's first rebuke of the rising tide of consumerism in the 1960s, 4 October 2015

Jean-Luc Godard's eighth feature film, UNE FEMME MARIÉE (A Married Woman, 1964) is a tale of adultery. As it opens, we meet Charlotte (Macha Meril) at a tryst with her lover Robert (Bernard Noël). Though Robert tries to convince her to divorce her husband, the pilot Pierre (Philippe Leroy), Charlotte's loyalties remain divided.

Godard labeled UNE FEMME MARIÉE not a "film" but rather "a collection of fragments from a film shot in 1964". However, this is much less avant-garde disjointed than one might expect. Godard chooses a fragment-based means of storytelling for the moments between Charlotte and her lover, presenting a sequence of brief dialogues between the lovers in rapid succession. Each of these self-encapsulated moments serves as another brick in the wall of what we know about the relationship. Such compressed storytelling manages to distill otherwise ineffable interpersonal dramas and feelings. The framing in the scenes between Charlotte and her lover is remarkable: close-up shots of their faces or limbs against featureless backgrounds. Generally the face of the person speaking is not shown and we hear only the words.

But while there had already been myriad such tales of love triangles through the ages, this film offers something fresh by combining it with a critique of 1960s consumer society. The characters pepper their conversation with commercial jingles, parrot whole advertising texts, or recite factoids. In shots of home life, the latest fancy name-brand cleaning products and electronics are placed prominently in the frame. Charlotte and her maid read women's magazines and see whether they live up to the standards of beauty that the media prescribes. The Auschwitz trials were going on at the same time as shooting, and Godard chose to work references to this into the characters' conversations. In this way, he underscores how consumer society emphasizes thinking about the present, buying whatever is called must-have now, and thus discourages self-reflection and critically gazing on the past. The film's message remains perennially fresh, and I think many viewers will enjoy UNE FEMME MARIEE.

Godard would take up the "housewife and consumerism" theme again three years later in 2 OU 3 CHOSES QUE JE SAIS D'ELLE, where this time the housewife prostitutes herself during the day to buy all the nice things that her husband can't. As a critique of consumerism, that later film is more successful inasmuch as it was shot in colour, and thus shows how commercial brands were using brash designs to draw the eye of shoppers. ("If you can't afford LSD," Godard says in a voice-over there, "buy a colour television.") However, UNE FEMME MARIEE is not just a rough sketch for the later film, and I'd even call it a better film, inasmuch as it tells a coherent story while the elements of the later one don't entirely come together for me.

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