A Woman Is A Woman -by Mychael Foster

Title/Year: "A Woman Is A Woman", 1961
Director/Birth Country/Year Born: Jean-Luc Godard, Paris France, December 3, 1930
Budget: $160,000 (estimated)
Gross: $100,665
Synopsis: A young girl, Angela, works as a stripper all the while wanting to have a baby with her boyfriend, Emile, whom does not want a baby and who's best friend, Alfred, is in love with Angela. This love triangle gets portrayed as a comical yet tragic story that unfolds on screen in which Angela carelessly plays with the hearts of men while her own heart is troubled and confused.
Narrative and Visual Keywords: French New Wave, Musical, Comedy, Tragedy, Red.
Characterization/Dialogue: Pride, Love, Confused, Pain, Torment, Betrayal, portraying the serious as comical.
Camera/Lighting/Editing Technique: Jump cuts, camera POV, cutting in and out of music, soft/almost glowing light, bright colors, dolly/panorama shots, big close ups.
Political/Social Commentary: At one point the police come into their apartment, look around, pick up something on the table and leave. Maybe this is commenting on the over-use of power the government has. With social commentary I would infer Godard might be saying no matter how much of a "spin" you want to put on life, it is still a tragedy. And even the non-modern woman has modern wants and needs.
Historical Relevance/Recognition: French New-Wave influential film, meaning it was a film that got the New-Wave movement going, with a whole new way of showing the even the most trivial of stories and turning them into beautiful works of art. The way Godard filmed and edited the movie was new and fresh, just what the people were looking for after so much "hollywood" bull-shit.
Notable Collaboration: Raoul Coutard was in charge of the cinematography in this film and many others that all were apart of the French new-wave scene.
Random Fact, Etc.: This was Godards first film in color. Also, according to an interview from the New York Times, Joseph Gorden-Levitt said that "A woman is a woman" is one of his all time favorite movies.

Response Questions:
1.)If you take out the music, the movie becomes a tragedy, this is the objective side of the movie. Its as if the director is trying to fool the audience into this subjective reality of comedic beauty when all along real problems with love are going on. By adding in the funny noises and music, you forget how sad Angela truly is. The constant addressing of the camera gives the audience a sense there is an intelligence outside the movie, letting the audience know that "this is important", this in essence is the authorial commentary being represented.
2.)This film when focusing on "romantic commitment", has a more open minded view on love and what it means to love. Angela is caught up in a love-triangle with her boyfriend Emile and Emile's best friend Alfred. She plays with their hearts so nonchalantly you wouldn't know how much torment her own heart is going through. She battles with emotions for her non-appreciative boyfriend and the man (Alfred) who constantly tries to prove to Angela he loves her. In the end she chooses Emile for she loved him all along, both of whom throughout the movie have been confusing Pride for Love.
3.)