This movie is often advertised as a musical. It's not. It's Jean-Luc Godard's world, filled with vibrant blues and reds, bogaurd cigarettes, and cinema fantasies, shown through the eyes of Anna Karina. Karina plays a stripper, but unlike the other girls, she dances and sings as if she were in a musical choreographed by Bob Fosse. Raoul Cotard's cinerama camera follows her through Paris as we expiriance her flirtation's with her lover's best friend (played by Jean Paul Belamondo who also costars with Karina in 'Pierette le Fou' and starred in Godard's first film, A bout de scoffule) and argues with her lover about whether they should have a child and how awful the opposite sex is. They love eachother deeply, but can't stand eachother. In my experiance this IS love...or the closest thing humans can get to love. Godard keeps us completley out of the film by constantly reminding us that THIS IS A FILM. Anna Karina winks at the camera, breaks into song, the actors are staged unrealistically. This is what makes Jean-Luc Godard great. No matter how hard he tried to obtain realism in his first film, it was still a film and this is one of Godard's subliminal messages to the audience. Fun, charming, cinematic, and beautiful--a woman is a woman is a fine piece of cinema.

Absolutely beautiful. I loved every minute of this piece. The Color. Anna Karina. The opening scenes. The closing scenes. The concept. Whenever I think of Godard, I think of Anna Karina singing in the cabaret about her beauty. If you consider yourself a fan of Godard, French New Wave, musicals (although coming into seeing this, i was expecting quite a different type of musical, a more American version, which it wasn't) or just film in general, this is a must see. Godard holds a huge influence over todays films, i.e. Wes Anderson's work. I love seeing Anna Karina walking into the coffee shop, past the traffic, from the drab looking outside, ordering coffee, and leaving. I am so happy that Mr. Godard is still making films today, what a gift.

This is a Jean-Luc Godard musical-comedy, which sounds like a contradiction in terms, a fact which he himself acknowledged. The wide-screen color cinematography by Raoul Coutard is amazing, and the experiments with color are lovely. Anna Karina is incredibly pretty and rather too self-consciously adorable; Jean-Claude Brialy is suavely understated, and Jean-Paul Belmondo is certainly exuberant. There's a lot to recommend, even if it's far from the most successful of early Godard films.