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Read More “Sauve qui peut (la vie) – Jean-Luc Godard begins again”īy a strange process of free association I hope eventually to justify, watching a couple of Lily Tomlin’s character sketches on Saturday Night Live this past weekend reminded me of Godard’s rectangular portrait of Anna Karina/Nana Klein in Vivre sa vie. And part of it is that Karina is speaking for Godard, who could never make this declaration of love and caring in person, but makes it and means it, through her and through his glorious film. Part of it is that the girl is beautiful and fragile and brave, and also Anna Karina, the director’s wife, who’s essentially looking at him the same time she’s looking at us.

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Part of it is that the whole movie has been building on this theme without getting explicit about it. Then the girl is onscreen again and she looks right into the camera and sings the last line of the song, something like “My heart goes out to all of you,” and suddenly you feel as big as the night sky and as vulnerable as a newborn child. The screen fills with luminous nocturnal images of the city, streets, windows, pedestrians, the long glowworm of the train sliding toward the suburbs. The girl starts to sing a love song that turns into a ballad of loneliness. Except of course the movie dithers around a lot while they take English lessons and do a solemn softshoe in a juke bar and break the world’s speed record for touring the Louvre - and suddenly they’re on this train. Like that moment in Band of Outsiders (1964), a wacky, funny-sad romantic comedy about three young Parisians who like gangster movies and musicals, and decide they’re going to rob an isolated mansion where one of them, the girl, works. But every once in a while we snap into recognition that we’re on the other end of a cinematic conversation. We don’t think about this all the time because movies are seductive, even movies that work to be analytical and disjunctive and Brechtian, and we get drawn along by the beauty of the images and the movement of things via 24 still pictures per second. Talking to us about himself, talking to us about us, talking to us about talking to us. The thing about Godard movies is, he’s always talking to us. “Maybe it should be a new type of serial-how things really are.” “Is it a novel, this project you’re working on?” A conversation early in the new film by Jean-Luc Godard:

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