2 ou 3 choses que je sais d'elle (1967)

Director:

Jean-Luc Godard

Writers:

Catherine Vimenet (letter)
Jean-Luc Godard (writer)

Release Date:

17 March 1967 (France)

Genre:

Drama

Plot:

In this film, 'Her' refers to both Paris, the character of Juliette Janson and the actress playing her...

Plot Keywords:

Vietnam | Prostitution | Building | Cult Director | Nursery

Cast

Joseph Gehrard	...	Monsieur Gérard
Marina Vlady	...	Juliette Jeanson
Anny Duperey	...	Marianne
Roger Montsoret	...	Robert Jeanson
Raoul Lévy	...	John Bogus, the American
Jean Narboni	...	Roger
rest of cast listed alphabetically:
Yves Beneyton	...	Young man
Juliet Berto	...	Girl talking to Robert
Helena Bielicic	...	Girl in Bath
Christophe Bourseiller	...	Christophe Jeanson
Marie Bourseiller	...	Solange Jeanson
Marie Cardinal
Robert Chevassu	...	Meter reader
Jean-Luc Godard	...	Narrator (voice)
Blandine Jeanson	...	Girl
Benjamin Jules-Rosette	...	Man in basement
Jean-Pierre Laverne	...	Author
Jean-Patrick Lebel	...	Pécuchet
Anna Manga	...	Woman in basement
Claude Miller	...	Bouvard
Hélène Scott	...	Girl playing pinball

Also Known As:

Deux ou trois choses que je sais d'elle (France) (alternative spelling)
Two or Three Things I Know About Her

Runtime:

87 min

Country:

France

Language:

French | Italian

Color:

Color (Eastmancolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

Australia:M | Argentina:16 | Finland:K-16 | Sweden:15

Filming Locations:

Paris, France

Company:

Argos Films

Trivia:

In the scene where Juliette drops off her daughter at the day care/brothel, there is a painting on the wall of a screen shot of Nana (Anna Karina) in Vivre Sa Vie.

Quotes:

Juliette Janson: Speak as though quoting the truth. Old father Brecht said that, that actors should quote.

Movie Connections:

Referenced in Inside Tito's Trunk (2005) (V)

Soundtrack:

Quartet no. 16

making sense of the world again

There is something sublime about this film; whether it is the perspective, the idea behind the story (from an article about married women living in the new flat buildings of Paris suburbs taking on part-time prostitution) or the often sublime sequencing of events, there is a continuity of thought at work behind it, the continuity of the artist (as film maker, painter, philosopher) at work. The film has elements of meditation, social comment, and faith which seeks not just to analyse or explain what is is to live in this modern world (since, as Godard observed, living in Paris inevitably involves some form of prostitution) - but to put meaning back into it again, to raise ideas and thought about observing this life, to speculate. So the ideas about a superficial love of products (cars, washing powder, magazine) may seem a little dated and old-school post-modernist for us, but how many directors tackle the questions so openly, artistically and honestly, on a multitude of levels all at once? The film is about Godard's eye and mind of course, secretly feeding dialogue directly to his actress with microfone and earpiece (fulfilling Renoir?), as well as fulfilling a cinematic history of boys filming girls. The coffee cup analogy of consciousness emerging, the car wash scene, the tripartite openness of the film, the perspicacity... there is too much to say about this film. If only there were novelists or writers around who could do the same, with such beauty.

rino breebaart