died Jean-Luc Godard and it seems to me that this is a day to remember Anna Karina: the nouvelle is an important symbol of the ambiguous and the director’s partner in what the director describes as the terrible years. It may be out of place, but when Anna died (in 2019) dozens of posts about the couple’s idyllic romance come to mind; Artist-creator and muse-related topics abound, of course. This happened in the 21st century, but we understand that what Anna says she was living with Godard was earlier, moreover, at a stage where she began to “reveal” women on the screen, which was nothing more than selling them on the pretext of liberation. in another way (Le Mépris is a beautiful, almost involuntary account of all this dynamic, and I recommend seeing it with or without purple glasses).
Anna Karina told The Guardian a few years before her death: a difficult time for women. We couldn’t get our own checks. You had no right to anything, just to keep quiet.”
A marriage that began in 1961 after she got pregnant at the age of 18. After losing the baby, Godard decided to admit her to a psychiatric hospital, claiming she was “crazy”, and remained there until a psychoanalyst helped her. “He could have stayed there forever,” she said. From our point of view, the behavior of the filmmaker, who was supposedly more aware of these things, was quite vile, abusive, and emotionally violent. The disappearance and abandonment one will see Faulkner to the United States, Rossellini, bergman or so many friends that he left her locked in the house not knowing when to go out. In addition to the “little” anecdotes about his wife’s reluctant admission to a sanatorium after the terrible trauma of losing her baby, these are “just anecdotes” for some. However, it is useful to remember the epic stories and to create biographies that can be defined as such. In addition information that gives us many keys understanding the characters individually and together in their work.
The marriage lasted until 1967, when women were able to financially dispose of their own money and Anna Karina achieved the long-awaited economic independence. This was after the legendary Bande à episode, but it was also after the events that the actress recounted and which terrify us today. After all, they’re also a real part of the story and life of the so-called genius, and fortunately film, literature, and art historians already take every contextual detail into account to avoid tales.
So let’s stop talking about geniuses and muses as if we’re from centuries ago, let’s listen to their stories too (usually ideologues and creators, but rarely are economically independent to run anything) and build profiles assuming a Godard, a picasso or a whereAt the very least, they can be irresistible people. And we don’t drop anything.