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Reviews Counted:28
Fresh:24
Rotten:4
Average Rating:7.4/10
Runtime: 88 mins
Genre: Foreign Films
Synopsis: With A WOMAN IS A WOMAN, French director Jean-Luc Godard pays tribute to American musicals in much the same way that his debut feature, the critical and commercial smash hit BREATHLESS, did to... [More]
Starring: Anna Karina, Jean-Claude Brialy, Jean-Paul Belmondo
Director: Jean-Luc Godard
Full of memorable images and odd flourishes, there's a whole network of gags and cunning cross references and Godard lets the characters move at their own pace, making for a film that's more relaxed and playful than his later work.
The result is brash, defiant, gaudy and infinitely fragile.
One of the most enjoyable of all the master's works.
Godard's whimsical celebration of romance, sentiment, musical comedy, color film, the city of Paris and the abundant charms of Ms. Karina herself, who at the time was also Madame Godard.
Top CriticIf Anna Karina, Jean-Claude Brialy, Jean-Paul Belmondo, the recorded voice of Charles Aznavour and a thrilling glimpse of toplessness (circa 1961, at least) in a sleazy strip joint called the Zodiac Club don't turn you on, then tant pis! for you.
Top CriticA vibrant cinematic romp full of spry, meet-cute banter and teeming with New Wave in-jokes, Godard's 1961 film holds up because it seems far less concerned with the plot proper than the rhythm and spring of its intimate staging.
A playful experiment.
You can sing and dance your way through life, but you'll have to do it naked, with men leering at you.
A Woman Is a Woman is fluff, but quelle mousse.
Jean-Luc Godard's A Woman is A Woman, along with his great My Life to Live, remains one of the director's more accessible works.
No review available.
There's more vitality, more reckless love of the cinema, in any one scene than in a dozen current films.
The partially improvised performances, especially that of Karina, who would go on to star in Godard's much darker My Life to Live, are spirited and fun.
Top CriticGodard remains stubbornly experimental, as in the defiant use of set, the chopped-up bits of Legrand's score looming up throughout; still it somehow charms.
As always, Godard is more interested in making a comment on films -- specifically the musical -- than in creating one of his own.
Godard light, but not lite: Its breezy postures front for melancholia.
It is perhaps most memorable for being a highly personal 'documentary' about Karina and Godard's feelings about her at the time, brimming with odd details and irreverent energies.
Top CriticA charming document of the great filmmaker's fanciful yet serious dreams for cinema.
One of Godard's more approachable and enjoyable films, a black-comic tribute to musical romance
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