Une femme mariée: Suite de fragments d'un film tourné en 1964 (A Married Woman)

Critics Consensus

No consensus yet.



Total Count: 20


Audience Score

User Ratings: 647
User image

Movie Info

Director Jean-Luc Godard narrates this study of a married woman who begins an affair with another man. After becoming pregnant, she is unable to figure out which man is the father of her son and must choose between the two. ~ Iotis Erlewine, Rovi

Watch it now


Macha Méril
as Charlotte
Bernard Noël
as Robert the Lover
Rita Maiden
as Mme. Celine
Margaret Le Van
as Girls in Swimming Pool
Veronique Duval
as Girls in Swimming Pool
Chris Tophe
as Nicolas
Georges Liron
as The Physician
View All

Critic Reviews for Une femme mariée: Suite de fragments d'un film tourné en 1964 (A Married Woman)

All Critics (20) | Top Critics (6)

Audience Reviews for Une femme mariée: Suite de fragments d'un film tourné en 1964 (A Married Woman)

  • Jul 22, 2014
    Godard examines a married woman who is having an affair. This is a truly magnificent film. Before, we had seen a Godard showcasing his array of political, social, philosophical, cinematic, artistic and poetic sources of inspiration that constituted one of the most brilliant minds in movie history. The majority of the male characters were replicas of Godard's perceptions about a world full of contradictory human stupidity and how art reflects the human condition, and the majority of the female characters were physically gorgeous fragments about his ideal wife. However, the message seemed ironically close-minded, like stated facts instead of stated opinions, transforming the plots into secondary devices that functioned as vehicles that moved his own train of thought. Forever it will be a fascinating train of thought, even if it seemed not to accept an alternating point of view, even if some philosophers promote dialogue as a means to exteriorize our capacity to coexist in our undeniable condition of social beings. Finally, the Kitchen Sink Realism and the Film Noir collided with his own vivid, jazzy and inreasingly anarchic trademarks of moviemaking, resulting in a legendary celluloid pot. This is different. For the first time, the characters feel shockingly human even if they reflect the complex admiration that Godard had to several sources. The film opens with a strikingly haunting piece of erotic visual poetry between a man and a woman. Who are they? Is he already the lover, or will the film open with the marital relationship? Since the beginning, the film whispers gently: "It doesn't matter". As two souls explore each other, we are left breathless (pun very much intended), reflecting on the passionate authenticity of the images depicted, while whispered dialogue constructs an anecdotic structure of memories, past, present, sex, intelligence, childhood, love, theater, not in that order. With this human authenticity the constant references to pop culture, consummerist tendences, art and cinema finally manage to become one whole cohesive product under Godard's lens. They react to their personalities, and their personalities react to these influences. In this way, their credibility and layers of psychological depth are raised through the roof. Maybe this is the first time he achieves this, while evolving his filmmaking style at an incredible speed since 1960, now characterized by flawless close-ups and long tracking shots, given his extremely prolific filmography. We conclude that one is married more to our own conflicting ideals and stereotypical behavior imposed by a society full of image-oriented tendencies than to our authentic selves, because it is each time more difficult to find the purest version of ourselves. The review by IMDB user <b>"Nilbog!"</b> says that <i>"this one, while no classic, is essential viewing for anyone interested in Godard's progression from brilliant filmmaker to serious artist."</i> That is one perfect description of his vision's evolution, a beautiful piece of evidence favoring his versatility, and one of the best films of the year. 93/100
    Edgar C Super Reviewer
  • Feb 09, 2010
    It's hard to resist comparing "A Married Woman" with "A Woman Is a Woman" and "My Life to Live," two other female portraits which Jean-Luc Godard directed around the same time. Unfortunately, lead actress Macha Meril is no match for Anna Karina on any count. "A Married Woman" is also thornier to watch -- it's not subtitled "Fragments of a Film Made in 1964" (emphasis on "Fragments") for nothing. Almost Ingmar Bergman-like at times, it has trouble sustaining a groove due to its arty, stilted editing. It lacks "A Woman Is a Woman"s vivid colors, and the imagery is washed-out and bland even by black-and-white standards. There is little shadow or darkness in this world of pale walls and bedsheets. Méril plays the title character Charlotte, who's uneasily married to a pilot but loves a local actor. She's not exactly a charmer -- she is distant, hesitant, not too bright and spends a lot of time in her underwear despite a somewhat doughy, unappealing physique. Vacantly living in the moment, she says her policy is "never to think twice about anything." She's quite concerned with her looks, and frets over her bustline and envies models in brassiere ads. Of course, the shots of her with magazines and billboards just reflect Godard's usual bent of portraying young women as flighty products of a commercialized culture. His strained insertion of personal influences is equally blunt and characteristic. Names such as Moliere, Rosselini, Dietrich and Cocteau (plus several others who may require Googling) pepper the dialogue and visuals. Uncompromising from the start, the film opens with several minutes of conversation shards between Charlotte and her lover Robert. Godard is fascinated with shooting her nude body from a variety of demure closeups, and each new camera position brings a handful of enigmatic lines which may or may not make sense out of context. The same approach is repeated later with husband Pierre. Another odd motif is stringing together Charlotte's incomplete thought snippets as whispered narration. "In the middle of the corridor, hope...the image of a young girl...who am I?...exactly...the verb to follow, other reasons...I was once...not here, a year ago...only once, wasn't it?...it's his fault...then reality...." What? Maybe something was lost in the translation. Charlotte hops between two worlds, meeting Robert during the day and Pierre and her young son at night. She takes juvenile pleasure in her secrecy, giddily switching taxi cabs like a furtive spy and imagining herself as an Alfred Hitchcock heroine. There isn't much plot -- she talks of divorcing her husband and going away with Robert, but there is no fierce pressure to decide. Pregnancy concerns also go unresolved. Instead, the action is mostly about Godard's various quirks and contrivances, which include a swimming scene flipped negative, offbeat references to Nazi concentration camps, a prolonged listen to a record of a woman laughing, a daring shot (for 1964) which suggests Charlotte giving herself a pubic trim, an absurd gadget to enforce good posture and a café chat where two girls' words are printed onscreen (presumably to simulate advertising captions?). There are also seven numbered segments with heady title cards like "Memory," "The Present" and "Childhood" -- the most interesting of them are "Intelligence" (offering some sharp philosophy from writer Roger Leenhardt) and "The Theatre and Love" (where Charlotte presses a flustered Robert to explain the difference between professional acting and one's calculated, real-life persona). Certainly, "A Married Woman" is essential for Godard fans. But several of his other films should be seen first.
    Eric B Super Reviewer
  • Jun 06, 2009
    <p>Une Femme Mariée is Godard's examination of a married woman who is having an affair. Through short takes weaved together by fade-outs, he explores her encounters with both her husband and her lover, as well as her moments alone, her relationship with her surroundings, her fears and her tribulations. At the same time, it is also an examination of the human body, as during her encounters we can see different parts of her anatomy in each take: a foot, a hand, an elbow, perhaps to find the possibility of beauty or inspiration in the most common places. Finally, it's an experiment in cinema. A usual, Godard is fascinated with the blurry line that separates art from real life, and how his characters can cross it and remain humane.</p> <p>The woman is caught between the man she loves, an actor, and a husband she still feels for. In the long intellectual dialogue of each encounter, and in her own insight between takes -an evocative voice-over- we have all the clues to understand her situation, one in which she can't help but to love both men and, in consequence, begins to fool them both.</p> <p>I didn't expect it, but the characters of Une Femme Mariée -the woman, played by the sultry Macha Méril, her husband and her lover, are three of the most human characters I've seen in any of Godard's films. Every take is drenched in anxiety and poetry, and even through their long conversations about love and fidelity and committment, the woman and her two partners are perpetually earthy and tangible. Not only is this a highlight within the director's work, it also makes Une Femme Mariée very easy to connect with and a very easy film to feel. Beyond observing, we can put ourselves in these situations.</p> <p>The film only covers about a day and a half in the woman's life, so it can offer no resolutions. The progressions are ambiguous, yet fascinating. Those peculiarities, along with its unusual structure, could've made UFM alienting; however, Godard, in full control of his narrative style, makes it work so that it feels like watching a piece of life, filtered in the purest way through black and white cinematography and the music of Beethoven.
    Elvira B Super Reviewer

Une femme mariée: Suite de fragments d'un film tourné en 1964 (A Married Woman) Quotes

There are no approved quotes yet for this movie.

News & Features