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Une femme mariée (1964)
Posted By :
pgf000
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Date :
05 Feb 2012 01:04:12
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Une femme mariée: Suite de fragments d'un film tourné en 1964 (1964)
(A Married Woman)
Xvid 720x540 29.97fps 2329Kbps | French Dolby AC3 48000Hz stereo 192Kbps | English idx/sub | 01:35:13 | 1.8 Gb
+ bonus feature: 8 min compilation of Godard's film trailers
Drama | Director: Jean-Luc Godard | Stars: Bernard Noël, Macha Méril and Philippe Leroy
(A Married Woman)
Xvid 720x540 29.97fps 2329Kbps | French Dolby AC3 48000Hz stereo 192Kbps | English idx/sub | 01:35:13 | 1.8 Gb
+ bonus feature: 8 min compilation of Godard's film trailers
Drama | Director: Jean-Luc Godard | Stars: Bernard Noël, Macha Méril and Philippe Leroy
| “ | Charlotte is young and modern, not a hair out of place, superficial, cool; she reads fashion magazines - does she have the perfect bust? She lives in a Paris suburb with her son and her husband Pierre, a pilot. Her lover is Robert, an actor. Assignations with him, dinner with her husband and a client, consulting a physician: there's tension at home, Pierre had her followed a few months before, their marital play has an edge, Pierre slaps her and apologizes. She quizzes Robert: is he acting when he's with her? | ” |
| “ | 'Une femme mariée' records 24 hours in the life of Charlotte, the eponymous married woman, a morning and the morning after with her lover, actor Robert, the evening spent with Pierre, her pilot husband. This structure, of a double life almost, is in line with a theme of distinction or division set up from the opening titles: 'UN FILM […] EN NOIR ET BLANC', and extended filmically by the use of interviews filmed in the documentary style interposed between action, and likewise with detail shots of newspaper headlines edited into the narrative; there is later use of negative. The film is characteristically self-referential: Charlotte comments on her seating position in the car as being 'la position ideal du spectator du cinéma' as the extreme long shot captures on one plane the back of her and her lover's heads, as if they were in the row in front of us in a cinema audience, with a classic Parisian scene in the background. Genre clichés are employed: Charlotte's changing of taxis, and meeting her lover in the back row of the cinema taken from countless detective movies. | ” |
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