Introduction: The European Film Star - Anna Karina
Anna Karina, a name that resonates through the corridors of European cinema, stands as a symbol of artistic brilliance and cinematic innovation. Born Hanne Karin Blarke Bayer in Denmark on September 22, 1940, she transcended her origins to become an iconic figure in the world of film. In the early 1960s, French New Wave directors’ balance structure was generally improvisation. And Karina is the key point of this film movement. Making her debut in 1961 with The Little Soldier by Jean-Luc Godard, Karina’s breakthrough role came with Godard’s A Woman is a Woman the same year. Sellier (2008) highlights Karina’s pivotal role as the muse of the famous New Wave director Jean-Luc Godard. In her cooperation with Godard, she created the most iconic moment in the New Wave movement. Furthermore, Godard’s formative years in cinema are often referred to as ‘the Karina era’ (Bergala 1985, cited in Sellier, 2008).
Critics have noted Karina’s unique performance style, characterized by a blend of vulnerability and strength, which allowed her to embody a range of complex characters. Her star attributes, including her expressive eyes and effortless chic, have been the subject of scholarly analysis and professional film criticism, often highlighting her role in defining the aesthetic of the New Wave. Karina’s performance style is real and natural, which is in harmony with the innovative atmosphere of the New Wave. Her career, marked by a series of unforgettable performances, is a testament to her versatility and the profound impact she had on the European film landscape.
Vincendeau (2000) explores the cultural and cinematic context of Karina’s stardom. Vincendeau argues that Karina’s star image was not merely a product of her films but also a reflection of the changing social dynamics of the time. Her work provides insights into how Karina’s persona was both shaped by and contributed to the evolution of European cinema.
To represent the career of Anna Karina, three films have been meticulously selected, each not only representing a different facet of her talent, but also showcasing the evolution of her collaboration with Jean-Luc Godard. These films are A Woman is a Woman (Jean-Luc Godard, 1961), Band of Outsiders (Jean-Luc Godard, 1964), and Pierrot the Fool (Jean-Luc Godard, 1965).
A Woman is a Woman (1961)
There is revelatory moments driven by Karina’s obvious star power. And that charisma is most evident in Karina’s breakout role A Woman is a Woman. It is Karina’s first color film, which not only brought Karina to European audiences, but also demonstrated her multifaceted acting talent. The film marked a major breakthrough for Anna Karina. Although she had appeared in a few films before, it was A Woman is a Woman that solidified her status as a leading actress and a symbol of the French New Wave.
A Woman is a Woman is a vibrant, colorful exploration of femininity and desire, with Karina at its center. Her role as Angela, a stripper who wants a child, is a poignant portrayal of a woman’s quest for personal fulfillment. The film is a celebration of Karina’s star persona, with Godard famously stating that he made the film “to express my love for Anna Karina.” Karina became Godard’s muse, and her role in A Woman is a Woman is often seen as a reflection of Godard’s own views on cinema and life. In this film, the camera takes the place of Godard’s eyes, closely observing Karina’s every movement like a magnifying glass. At the same time, the camera takes the place of the hand of Godard, caressing Anna’s face through close-up shots and close-up shots, recording Karina’s most dynamic moment in a colorful way.
This film is chosen for its thematic depth and its celebration of Karina’s versatility. The film’s critical acclaim, particularly for its use of color and music, underscores its significance. Karina’s presence in the film is not just as an actress but as a visual element that adds to the overall aesthetic appeal. Her performance is both playful and profound, highlighting her ability to navigate the complexities of her character with ease. The film also won Karina the Best Actress award at the Berlin Film Festival.
Band of Outsiders (1964)
If Karina was endearing and relatable in A Woman is a Woman, she operated an entirely different level in Band of Outsiders.
Directed by Jean-Luc Godard, Band of Outsiders is a 1964 French New Wave film that features Karina in a leading role as Odile, a young woman caught up in a trio of misfits planning a heist. The film is known for its iconic moments, including the famous ‘Madison dance scene,’ which has been often imitated but never replicated.
Karina’s portrayal of Odile is central to the film’s charm and allure. Her character’s mix of innocence and worldliness, along with her effortless cool, has made her one of the most memorable figures of the New Wave. Band of Outsiders is often celebrated for its playful and innovative approach to storytelling, and Karina’s performance is a large part of what makes the film so enduring and influential. The role of Odile allowed Karina to further develop her acting skills. It marked a transition in her career where she began to take on more complex characters, showcasing her range and depth as an actress. The critical acclaim for this film and Karina’s performances is widespread. Critics have praised her ability to convey complex emotions with subtlety and grace.
The film also marked the continuation of Karina’s collaboration with Godard, both personally and professionally. This partnership was crucial in shaping her career and the development of her on-screen persona. They were married at the time, and she became his muse, starring in several of his most famous films. Band of Outsiders is considered one of their most successful collaborations. This film is a testament to Karina’s ability to embody the spirit of the New Wave—chic, modern, and subtly subversive, which makes it a significant part of her film career and her enduring legacy in cinema.
Pierrot the Fool (1965)
Pierrot the Fool, often considered one of Godard’s masterpieces, is a visually stunning and chaotic road movie that pushes the boundaries of narrative cinema. It is a quintessential New Wave film, known for its vibrant color palette and its blend of romanticism and existential angst. Pierrot the Fool, which is also a color film, expresses completely different emotion than A Woman is a Woman. Karina’s performance as Marianne, the enigmatic woman who leads the protagonist into a life of crime, is both seductive and subtly complex. The film is a kaleidoscopic blend of crime, romance, and social critique. The use of vibrant colors, unconventional editing, and a mix of genres create a sense of disorientation and urgency, reflecting the characters’ existential turmoil. Pierrot the Fool is a testament to the New Wave’s experimental spirit and Karina’s versatility, as she navigates the film’s shifts in tone from romantic to violent.
The film is significant in Karina’s career as it exemplifies her ability to embody the New Wave’s spirit of rebellion and innovation. It stands as a pinnacle in Anna Karina’s film career, exemplifying her commitment to artistic risk and her ability to embody complex characters. The film’s avant-garde style and Karina’s intense performance as Marianne solidified her status as a symbol of the New Wave’s defiance of traditional cinema. After Pierrot the Fool, Karina and Godard’s personal relationship ended. It marked a turning point, showcasing her evolution from muse to a fully realized actress capable of carrying a film with her charisma and emotional depth, leaving an indelible mark on her legacy.
Conclusion: Connections and Differentiations
These three films share common themes that highlight Karina’s versatility. The connection between these films lies in their exploration of femininity, desire, and the human experience. Each film presents a different facet of these themes, allowing for a comprehensive exploration of the subject. The films also share a connection through their director, Jean-Luc Godard, whose unique vision and style are evident in each work. Moreover, the films also share a sense of existential angst, a characteristic of the French New Wave, and each showcases Karina’s ability to navigate complex emotional landscapes.
While the films share common themes, they are also distinct in their approach and narrative style. A Woman is a Woman is a colorful, musical exploration of femininity and desire. Karina embraces an assertive femininity, where she is both the subject and the object of desire. In contrast, Band of Outsiders takes a different tone, with a more somber and existential narrative. Pierrot the Fool, released later, marks a shift towards a more chaotic and surreal narrative style.
Together, these films form a trilogy that captures the essence of Anna Karina’s contributions to cinema. These differences not only showcase the breadth of Karina’s talent but also reflect the evolution of her career and the diverse roles she undertook, allowing for a diverse and engaging viewing experience.
References
Ginette Vincendeau. (2000). Stars and Stardom in French Cinema. Continuum.
Sellier, G. (2008). The Women of the New Wave: Betw een Modern and Archaic. In G. Sellier, Masculine Singu lar: French New Wave Cinema (pp.145-184). Durham and London: Duke University Press.