A Woman Is a Woman

A Woman Is a Woman, is a 1961 French-Italian film directed by Jean-Luc Godard. The film stands out as Godard's first venture into color and Cinemascope and stars Anna Karina, Jean-Claude Brialy, and Jean-Paul Belmondo. This film, described as a "neorealist musical" was a remarkable way for Godard of displaying unadulterated love for the American musical genre while at the same time embedding his early, groundbreaking New Wave aesthetics.

The story follows Angela (Anna Karina), a young, vivacious, and vibrant stripper living in Paris, who dreams of motherhood and domesticity. She has a strong desire to have a baby, which is the primary focus of the film’s narrative. However, her living-in boyfriend, Émile (Jean-Claude Brialy), does not share her aspiration, which sets up a battle of wills. This conflict at the core of the story pumps the dramatic tension in their relationship, which otherwise appears to be loving and full of banter.

Meanwhile, Godard introduces the character of Alfred Lubitsch (Jean-Paul Belmondo), Émile's friend, who harbors a secret love for Angela and doesn't hesitate to declare his feelings whenever he gets the chance. This entry into the triangle provides a twist in the tale without the usual melodrama associated with such situations in traditional narratives. With her yearning for motherhood at the crux, the plot convincingly portrays Angela's emotional journey as she examines her relationships, her desires, and her dreams.

"A Woman Is a Woman," leans heavily into Godard’s defining New Wave aesthetic - a movement that sought to break away from traditional methods of storytelling. Its whimsical narrative style, the candid portrayal of characters, conspicuous scene changes, and deliberate breaking of the fourth wall, all suggest Godard's experimentation with the film form. The use of color and Cinemascope are also unique, adding vibrancy and depth to the bold aesthetics while also serving as a loving tribute to the genre of American musicals.

The performances of the leading trio, Anna Karina, Jean-Claude Brialy, and Jean-Paul Belmondo, are truly exceptional. Karina brings a delightful charm, vivacity, and innocence to Angela, which becomes the central attraction of the film. Brialy is apt in his portrayal of the constantly exasperated yet loving Émile. Belmondo offers a delicate performance marked by a beautiful balance of humor and sincerity.

The backdrop of 1960s Paris reveals a character in itself, exhibiting chic fashion, buzzing cafe culture, and charming everyday realism. With Michel Legrand's striking musical score adding a dynamic pace and rhythm to the narrative, the entire movie bears an air of a light-hearted musical. Despite dealing with serious themes such as maternity and romantic companionship, the movie remains infused with humor, reflexivity, and playfulness throughout, a testament to Godard's ability to fuse different elements together.

"A Woman is a Woman" is not just the tale of Angela's pursuit of motherhood but also of her exploration of self, love, and independence. In this respect, the movie also serves as a social comment on a woman's status and her freedom to make personal choices, which was a powerful statement in the early 1960s.

In conclusion, "A Woman Is a Woman" is a fascinating blend of multiple elements. It's an endearing love story set in the sparkle of 1960s Paris. It's a bold experiment with the musical genre, where songs don't really burst out but instead seep subtly into the narrative. It's a playful yet poignant exploration of the classical battle of sexes. And more than anything else, it's a film by Jean-Luc Godard. His signature cinematic style gives "A Woman Is a Woman" a unique appeal that cements its position as a classic in French New Wave Cinema.