The profession of prostitution has been present in every society throughout history, regardless of its legal status, and can be traced back to ancient times. In France, the influence of prostitution on the socioeconomy is significant and recognized as part of the country’s cultural heritage by former president Nicolas Sarkozy (Gangoli, G. & Westmarland, N. 2006). The impact of prostitution and its connection to crime in the daily lives of ordinary Parisians is explored in Jean-Luc Godard’s Vivre Sa Vie (1962), a film that adopts a theatrical documentary style and employs Brechtian alienation techniques to prompt audience members to critically analyze its underlying message.
The film Vivre Sa Vie (1962) is structured like a fictional novel, with twelve tableaux that serve to create distance and prevent the audience from becoming too invested in the tragic character of Nana. This stylistic choice, reminiscent of a novel, is enhanced by the fact that the name ‘Nana’ pays homage to a naturalist film made by Jean Renoir in 1926, who greatly influenced Godard.
The scripts of both films exhibit clear similarities in the aspirations of the female protagonists to achieve success in the entertainment industry, their sexual promiscuity, and their sorrowful fates. It is important to observe that Nana serves as both a tribute to Renoir and a rearrangement of ‘Anna’ Karina, who was Godard’s spouse during that period. This implies that the movie not only delves into Nana’s identity but also reflects Godard’s perspective on Karina. Consequently, this prompts us to question whether a filmmaker’s creation can genuinely be considered an autobiographical portrayal of themselves.
Different English-speaking countries had different titles for earlier versions of the film. In North America, it was titled “My Life To Live,” while in the United Kingdom, it was called “It’s My Life.” Despite these slight differences in translation, the essential existentialist concepts remain unchanged. According to Sartre, existentialism asserts that one’s existence precedes their essence. This means that a person’s choices in life determine their very being and they are responsible for their actions, emotions, and words. Nana expresses this idea in Vivre Sa Vie (1962), Tableau the Sixth titled “Meeting Yvette; A Cafe In The Suburbs; Raoul; Gunshots In The Streets”: “I believe we always bear responsibility for our actions; we have freedom. Every time I raise my hands or turn my head to the right, I am accountable. Even if I forget at times, I am still responsible.”
Despite Nana seemingly accepting her fate due to her own choices, there are underlying complexities that are not accounted for. These include the circumstances that led Nana to go astray and become a prostitute. In Susan Sontag’s (1964) essay “Godard’s Vivre Sa Vie,” she argues that art focused on social and topical issues should not just present what is happening but also explore how and why it happens. However, Vivre Sa Vie deliberately avoids offering explanations.
It rejects the concept of cause and effect. In VIVRE SA VIE, Godard does not provide a conventional explanation for why the main character, Nana, becomes a prostitute. Instead, he simply shows us that she does become one. Similarly, Godard does not reveal the reasons behind Nana’s pimp Raoul selling her or the events leading up to the final gun battle in which Nana is killed. He only shows us that she is sold and dies. He does not analyze but rather demonstrates. ”
Throughout the film, Nana is depicted as a naïve young woman who is eager to achieve her dreams and fulfill her desires. These desires are greatly influenced by her almost obsessive fascination with popular culture. This aspect of Nana’s character aligns with what Sontag refers to as Godard’s “proof,” which provides the audience with the necessary elements to complete the narrative. The third tableau, titled “The Concierge; Paul; The Passion of Joan of Arc; A Journalist,” exemplifies this idea. Despite being without a home, Nana remains undeterred and goes ahead to watch a screening of “Le Passion de Jeanne d’Arc.”
The portrayal of Nana, played by Anna Karina, in the film incites the audience to compare her difficult circumstances to Joan of Arc’s suffering. Nana’s ultimate fate seems to be foreshadowed by the death of Joan. The auteur’s depiction of the heroine encourages viewers to analyze the plot and search for the missing cause in order to understand the causality. Critique is necessary for developing an alternative perspective.
The text highlights the correlation between Nana’s occupation at a record shop, her regular trips to cinemas, and her eventual involvement in prostitution. This draws a clear parallel between Nana and the conventional idea of femininity, while also highlighting the disparity between actions driven by one’s own motivations and those influenced by external factors. The portrayal of Nana as a victim of circumstances emphasizes the challenges faced by individuals within a capitalist society.
In order to emphasize his worry about the overwhelming influence of consumerism on a more materialistic Paris, Godard effectively utilizes various elements within the mise-en-scene such as foreign cars, juke boxes, pinball machines, and even Nana’s bobbed haircut. These elements all serve to convey the idea that individuals lose their sense of self when under the oppressive control of a monopoly. The fifth tableau (The Boulevards; The First Man; The Room) is when Nana initially encounters solicitation.
Yvette recounts her own journey into prostitution in detail, further desensitizing Nana to the lifestyle. Only Yvette has a clear understanding of the reasons and circumstances that led her to become a prostitute. Godard does not delve into the stories of Nana’s other colleagues in the film, leaving room for the audience to interpret the various paths that could lead a woman into prostitution. The film aims to portray the realities of being a prostitute, showing that criminality is not limited to delinquent members of society but can also involve those sworn to uphold the law. The sixth tableau reveals a shooting in the streets that is later revealed to be a politically motivated act.
A man with blinded eyes due to a wound enters the cafe in extreme pain, while Nana quickly leaves the area. Blinded by a false sense of independence, Nana begins her new career as a prostitute under Raoul’s control. The societal acceptance of sexist views and assumptions about women (Smart, C. 1978) reinforces the general perception of women as an inferior gender, even in the underworld of crime.
Embracing this one-sided mentality, the subjugation of women is illustrated as Nana effortlessly strolls through the hotel, encountering her coworkers who resemble immobile statues confined by the commanding stares of the men they cater to. This monochrome film maintains a connection to the recurring motif of marble statues in Godard’s portrayal of women (Tableau The Tenth-The Streets; A Bloke; Happiness Is No Fun).
Nana, the protagonist of this text, is both a victim of circumstance and someone who willingly assumes the role of a prostitute. When she is rejected by a client, she experiences emotions of disappointment and hurt. Cecil Bishop (1931) describes this state as a deliberate choice to engage in prostitution in order to satisfy sexual desires, rather than being driven by economic or social factors. Nana finds that prostitution provides a relatively small income, but also fulfills her growing need for sex. In 1962, during the decline of the French New Wave, Godard released a groundbreaking film about the life of a prostitute. Prostitution serves as a prominent theme in Godard’s cinematography, representing a model and metaphor for all social relationships.
In the writings of Godard, all forms of labor that involve seeking monetary gain are considered to be a type of prostitution. Through his observations of women in these occupations and their conditions of suffering and contradictions, Godard aimed not only to comprehend the corruption of the world and society but also to communicate this understanding to his audience. References: Bishop, C., (1931). Women and crime. 1st ed. London: Chatto and Windus. Braudy, L., (1977). Jean Renoir: The World of His Films. 1st ed. London: Robson Books. Craib, I., (1976). Existentialism and sociology: a study of Jean-Paul Sartre. 1st ed. London: Cambridge University Press. Gangoli, G. & Westmarland, N., (2006). International Approaches to Prostitution: Law And Policy In Europe And Asia. 1st ed. Bristol: The Policy Press. Sherritt, D., (1999). The films of Jean-Luc Godard: seeing the invisible. 1st ed. Cambridge: Cambridge University Press. Smart, C., (1978). Women, crime and criminology; a feminist critique. 1st ed. London: Routledge & Kegan Paul. Sontag, Susan. “Godard.” Styles of Radical Will. New York: Farrar, Straus and Giroux, 1969. —-. “Godard’s VIVRE SA VIE.” Against Interpretation and Other Essays.
