Classic Cinema Obsession: Godard’s Vivre Sa Vie

[Editor’s Note: A restored version of Jean-Luc Godard’s Vivre Sa Vie has just been released by Criterion on DVD and Blu-ray, and is now available at the LFM Store below at the end of this post.]

By Jennifer Baldwin

A CLASSIC CINEMA OBSESSION in 4 TABLEAUX

1
JENNI COMES IN LATE — THE FACE OF MARIA FALCONETTI –CONVERTED — PEOPLE WALK OUT EARLY
I was late to the screening. It was French New Wave Week in World Cinema 340 and we were watching Godard’s MY LIFE TO LIVE (a.k.a. VIVRE SA VIE). It was my first Godard. I was a lazy undergrad. I came in about 15 minutes late, an intruder bringing a squeaky door and too much light into the darkened, cavernous auditorium. I felt hot and embarrassed at my intrusion. I sat in an uncomfortable plastic chair in the back, hiding from all my fellow students. The first thing I saw was a face. It made me cry. It always makes me cry.

THE PASSION OF JOAN OF ARC is one of my favorite films. Seeing it for the first time, I had a (re)conversion to Catholicism/cinema. Seeing it every time since, I am continually reconverted. And always crying at the face of Maria Falconetti.


I am Nana. She sees the face of Maria-as-Jeanne D’Arc and she cries too.

We are all crying, we three faces. I have a feeling no one else in the auditorium is crying. Before the screening is over, half the students have walked out. Perhaps they were disappointed at the lack of sex and the one bit of sterile nudity in a picture about prostitution. Perhaps they couldn’t feel anything when they looked at Anna Karina’s face. Perhaps they didn’t like lengthy philosophical discussions about the meaning of language and speech. Perhaps they thought the French New Wave weird and pretentious and Godard’s film most of all.

But not me. I was converted that night while watching VIVRE SA VIE. I was converted to Godard. He was my first New Wave love (Truffaut would come later, but Godard was always stronger).

It’s been almost eight years since I watched VIVRE SA VIE in college, but I have never forgotten the images or the effect the film had on me. I have never forgotten it. I recently watched the new Criterion Collection remastered DVD of VIVRE SA VIE — now my second time seeing the film. I still can’t explain my thoughts on it. It is a religious experience in that way. It is a spiritual/emotional thing, not an intellectual one. I have thoughts and feelings, but I cannot put them into words. If words were enough, I wouldn’t need the pictures.

“She sells her body but keeps her soul.” Continue reading Classic Cinema Obsession: Godard’s Vivre Sa Vie

Classic Movie Obsession (Memorial Day Edition): Howard Hawks’ Sergeant York

[Editor’s Note: Memorial Day is Monday, May 31st, but we’re posting this week’s Classic Movie Obsession now because Turner Classic Movies will be airing Howard Hawks’ Sergeant York on Friday, May 28th at 2:30pm Pacific Time/5:30pm Eastern Time.]

By Jennifer Baldwin. Director Howard Hawks is a favorite among film critics and students of auteur theory. His fans include critics Robin Wood and Andrew Sarris, the Cahiers du Cinema crowd, and even Quentin Tarantino. I’m a big fan too.

Much has been written and said about Hawks, about his great films, about how he could work in every genre. But there’s one major Hawks film that doesn’t get much ink spilled over it; it’s the one major Hawks film that always seems to get ignored by the film critics and fans.

That film is SERGEANT YORK. Why are critics and Hawks experts so reluctant to discuss this classic biographical film about one of America’s greatest war heroes? It’s a movie anchored by the performance of a major movie star in Gary Cooper. It’s a rousing war movie. It includes many of the classic Hawksian themes. It’s beautifully shot. So what’s the deal, critics? Why no love for YORK when you’ve got plenty of words to write about HATARI!?

Two words: God. Country.

Critics avoid YORK like the plague because the film has been slapped with that wartime “propaganda” label and that’s all it needs to be effectively silenced as a work of art and an important film in the Hawks oeuvre.

Not that I’ve taken a poll or anything, but life experience tells me that most critics are left-of-center politically and that for them the subjects of Christianity and patriotism are sticky issues. A film that’s unabashedly pro-Christianity and pro-American patriotism doesn’t appeal to the majority of Hawks’ critical champions. We all tend to write about the movies that excite us and for most critics, a movie that wears its Christian patriotic heart on its sleeve is not something that appeals.

Which is a shame, because as a Hawks fan myself and a huge fan of SERGEANT YORK, I find there’s not enough written about the film. Seeing as it’s Memorial Day weekend and SERGEANT YORK is playing on TCM on Friday, May 28 at 2:30 PM PT/5:30 PM EST, I figured I’d give YORK its fair shake and make it my Classic Cinema Obsession of the Week. Continue reading Classic Movie Obsession (Memorial Day Edition): Howard Hawks’ Sergeant York

Classic Cinema Obsession: SCANDAL SHEET (Phil Karlson, 1952)

[Editor’s note: this is the first of a new LFM series of ‘visual essays’ for classic movie fans, called “Classic Cinema Obsession” by Jennifer Baldwin.]

By Jennifer Baldwin.

This Week’s Classic Cinema Obsession: SCANDAL SHEET (Phil Karlson, 1952)

Why do so many old movie obsessives (myself included) love Film Noir? Maybe it’s because so many films noir feature characters who are also, one way or another, obsessives themselves. Obsessed with money, with power, with justice, with a member of the opposite sex. The old movie obsessive can identify with these characters; we know what it’s like to have a passion that is all-consuming, which takes over our lives.

But classic film buffs like me love Noir for another reason too: Film Noir satisfies our obsessions. Beneath the surface of these B-movie programmers with their tightly woven plots and genre thrills, old movie obsessives can find complex, multi-layered themes and characters; hidden, coded messages about society and the human psyche; and a wealth of stylistic touches that make these films an endless source of study and analysis for the dedicated cinephile. In less than 90 minutes, your average film noir can provide an old movie obsessive with hours, days, years of film geek fun.


That’s what we’ve got with SCANDAL SHEET, a well-written, gritty and cynical little crime flick from director Phil Karlson, starring Broderick Crawford, John Derek, and Donna Reed, and based on a novel by Samuel Fuller (yeah, that Sam Fuller). It aired on TCM May 19, 2010 (2:00 AM EST) as part of their Star of the Month tribute to Ms. Reed and it’s my Classic Cinema Obsession of the Week. Continue reading Classic Cinema Obsession: SCANDAL SHEET (Phil Karlson, 1952)