Exoticalot People are voting emotionally.

Pacionsbo Absolutely Fantastic

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

JohnHowardReid Two or three very good jokes (the scene in which Belmondo is accosted by a creditor and they end up hurling insults at each other as they cross the road in different directions, and the sequence in which so many people bludge a light off Belmondo's cigarette, he ends up with an unsmokable stub) and a very promising opening give little indication of the seemingly endless dreariness to come when Jean-Claude Brialy cycles on to the scene and the characters settle down to a boring array of routine recriminations in the one dreary set. It looks like the producer was unable to afford only two indoor sets. Admittedly, the director has tried to circumvent the shortage with a bit of location work, but this is neither skillfully chosen nor cleverly employed. Worse still, the obviously hand-held camera wobbles to an incredible degree. No doubt, a lot of this was done deliberately in order to disguise the ineptness of the direction and the lack of francs in the producer's pocket. But there was really no need for this display of deliberate ineptitude. The rest of the movie in itself provides evidence enough. And to make matters worse, Anna Karina acts like a wet rag, nothing like the delightfully animated personality she unveiled in "She'll Have To Go".

gavin6942 A French striptease artist (Anna Karina) is desperate to become a mother. When her reluctant boyfriend (Jean-Claude Brialy) suggests his best friend (Jean-Paul Belmondo) to impregnate her, feelings become complicated when she accepts.Godard declared this triangle "an excellent subject for a comedy à la Lubitsch" and, in fact, the Belmondo character is named Alfred Lubitsch, which is no subtle tip of the hat. This is Lubitsch with an eccentric French touch.Only the third of Godard's films (he made many, many more), it is not really my favorite by a long shot. It has some of the quirkiness of his other films (especially early on when the music seems to be completely unaware of the movie). But it just never really hits home for me.

supernma This is my second Godard film, my first being "Breathless", and I must say I enjoyed this one much more simply for the film's vibrant use of color. As Godard's first color film, he didn't waste the opportunity to experiment with them, and used his color schemes to their fullest potentials. The costumes, lighting, and sets all explode from the screen in bright oranges, reds, purples, and blues; a very kaleidoscopic experience. I can only assume at this point that Godard is not one for traditional story structure and plot development. The film, using distinct French New Wave editing and sound mixing, kind of "dances" and "skips" around scenes and dialogue, making the film more about the pure experience of cinema than delving into some kind of serious story or character arch. Some might see it as immature or pretentious, and it may very well be that, but it's so much fun to watch and so exciting for an aspiring filmmaker such as myself to see cinema at its perhaps most artistically indulgent.

Richard Burin Une femme est une femme (Jean-Luc Godard, 1961) conjures that feeling of acute frustration unique to the work of Jean-Luc Godard: as soon as it achieves some kind of clarity or emotional attractiveness it goes off somewhere else. But if that new diversion isn't working, don't worry - there'll be another one along in a minute. Anna Karina is good as the playful, big-eyed protagonist, who loves her boyfriend (Jean-Claude Brialy) but wants a baby so much she might just have one with her ex (Jean-Paul Belmondo, in another winning performance). The film is brightly-coloured, imaginative and littered with movie in-jokes, containing references to the movies of Godard and his Nouvelle Vague contemporary Francois Truffaut and nods to old Hollywood musicals (Gene Kelly and Bob Fosse are namechecked, Belmondo's surname is Lubitsch). And every so often everything clicks into place: like the terrific snippet in which Belmondo is accused of dodging the rent, the barrage of peculiar noises preceding his anticipated bathroom tryst with Karina or the series of visual gags based on manipulated book titles. But the movie frequently unravels, with long stretches that offer nothing but vivid direction and a feeling that Godard should really watch some of those musical comedies he claims to be homaging. The film's incoherence is mistaken by some critics for freewheeling brilliance, which is a pretty stupid mistake to make.