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Christopher Price
Christopher Price

Vivre Sa Vie Subtitles English WORK


In this last scene it shows Nana with one of her clients as he is lying on the bed reading a book by Edgar Allen Poe titled the Oval Portrait. In this chapter Nana and the client speak to each other through subtitles which bring back the silent Dreyer film The Passion of Joan of Arc.




Vivre Sa Vie subtitles English


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Sadly Jean-Luc Godard and other great artistic filmmakers are slowly being forgotten because of the mainstream popularity of big budget entertainments. In a film world now full of giant robots, comic book superheroes, and 3D space epics, Godard's films still seem more fresh and relevant than any of them could ever be. Godard defined the 60's and changed cinema forever creating the French New Wave with several other French directors most famously Francois Truffaut. And yet less and less of the newer generations know who he is or even care. Film critic Roger Ebert said on Godard, 'We loved his films. As much as we talked about Tarantino after Pulp Fiction we talked about Godard in those days. I remember a sentence that became part of my repertory: 'His camera rotates 360 degrees, twice, and then stops and moves back in the other direction just a little to show that it knows what it's doing!' And now the name Godard inspires a blank face from most filmgoers. Subtitled films are out. Art films are out. Self-conscious films are out. Films that test the edges of the cinema are out. Now it is all about the mass audience: It must be congratulated for its narrow tastes, and catered to. And yet, idly watching television as Aerosmith is inducted into the Rock and Roll Hall of Fame, I reflect that if they can be resurrected from the ashes of more radical decades, then why not Godard?" Godard and Anna Karina who was Godard's wife since the spring of 1961 have never made another film that was so bleak or that has explored the tragic aspects of women in social society. I believe one of the films main themes in Vivre sa Vie is the subject of verbal and non communications between people within real life and also within the cinema. Several shots in the film you hear character's having complete conversations with one another without the camera ever moving or showing the character's speaking the words that are being said. They're even times in the film where you see the character's speaking through subtitles and yet the character's aren't speaking verbally, which is greatly similar to a silent film. And than you have one of the great scenes in the film where Nana has a philosophical conversation with Brice Parain about the power of words as she says, 'Why must one always talk? I think one should often just keep quite, live in silence. The more one talks, the less the words mean." Even though most of Nana's character is slightly unknown and the decisions she makes are not made very clear, the two scenes that seem to fully express what Nana is feeling involve subtitles and no verbal communication. The man she has met and has fallen in love with near the end of the film, the communication between the two of them is all completely subtitled, and the scene of her sad expression tearing up while watching Dreyer's The Passion of Joan of Arc, they're also no words verbally said on the screen, or between her and the date she is with. Maybe Godard is suggesting that true emotions don't need to be verbal and that silence can express more on how a person is feeling then most films that have to explain or verbalize what a character is thinking or feeling. At the end of the film the young man she has fallen in love with is reading Edgar Allen Poe's 'The Oval Portrait' and he is explaining the cost of the real vs the image. "This is indeed Life itself!" the artist cries out lovingly at the portrait of his wife. Sadly at this stage of the film when Nana finally falls in love with a man and wants to quit the lifestyle she is in, it already is too late. In some ways that Edgar Allen Poe story that was read can be looked at as a contrast to Godard and how he might have felt on his wife portrayed on screen vs the woman he was married to in real life. The story reveals Godard's true love for her as the story also reveals the upcoming death of the character of Nana. Karina and Godard were magnificent in every film they did together and Karina became an icon of the 1960s and signified what all women stood for with the director. Her performance in this film is one of her most iconic roles and in many ways cannot be matched; and Godard and Karina have also never been better when working without one another as well.


Citing Montaigne on the urgency of experience (that is, of the need to draw life from death) at the outset, Godard cuts the story of Nana's life into 12 stations of sainthood. Nana's death, shot in front of a "Café des Studios" in a suburban zone, casually depicts the heroine falling to the asphalt between two cars; it also tells of metaphysical stress that sustains all of Godard's work, from A bout de souffle to Je vous salue, Marie , 25 years later. Vivre sa vie underscores an obsession with mimesis, defined in strict accord with the roots of prostitution, in the ways the film works through the etymology of prostatuere. In its theology of visibility, it makes of prostitution a matter of "standing forward": to reveal oneself to others, to "come into view" from anonymity, in a sort of cinematic ecce homo , entails the heroine's demise. An interview with a philosopher stages Nana as an everywoman who queries Brice Parain (who plays himself) on the relations of words, things, and existence to action. A comic and pathetic register is attained. Godard reaches religious and Marxian undertones as well, confirmed in a remarkable sequence, just prior to the last tableau, when Nana's new lover, a young man (banal as all the men who figure in his work), reads excerpts from Baudelaire's translation of Poe's "The Oval Portrait." The passage treats of the stakes of doubling (and dubbing) a picture with words, and of the dialectic of the two, by which a narrative is finished at the price of the death of the woman portrayed. "The Oval Portrait" becomes Vivre sa vie en abyme. Godard's voice actually reads Poe by way of Baudelaire; the young man's face, covered to eye level by the book, affords no lipsynch: Godard, the male character, Baudelaire, and Poe are all part of the same travesty. Because the quotation is doubled with English subtitles that bear the "original" of Poe, the film reveals its own essence of ventriloquism. The relation of words to image is complicated by the same subtitles that offset the illusion of a "true" image or voice.


The Alliance Française of Charleston is gearing up for the sixth annual Francophone Film Festival, scheduled for Nov. 9-11 at the Institute of Psychiatry Auditorium at MUSC. The fest features five recent French films with English subtitles. Admission is $5 or $3 for AF members and students under 25.


One was a catalog published by the archive, Czech Animated Film I 1920-1945 (2012, bilingual in Czech and English), with a short historical introduction and descriptions of all the known films of the period. It relates to a two-DVD set, Český animovaný film 1925-1945 (Czech animated film). This delightful collection contains 30 shorts and has optional English subtitles. Some of the cartoons are outright imitations of American series of the day, such as Hannibal in the Virgin Forest (1932), clearly inspired by early sound cartoons from Disney and Warner Bros.: 041b061a72


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