Born in Denmark in 1940, Anna Karina, real name Hanne Karin Bayer, fled to Paris in 1958, even though she could not speak French. However, in recent years, Karina has become the face of the French New Wave, working with her lover Jean-Luc Godard as the star of his most successful films.
After arriving in Paris at the age of 17, Karina was noticed by an advertising manager who asked the young girl if she was interested in modeling. Due to lack of money, Karina agreed and started modeling for big names like Elle and rubbing shoulders with Coco Chanel. The actress credits the designer with helping her choose her stage name, based on the novel by Leo Tolstoy, Anna Karenina.
Karina starred in Palmolive commercials recently, which caught the attention of the young filmmaker Godard, who was casting his first film. Not breathing. Although he wanted to cast Karina in his film, he refused because of the possibility of a naked scene.
Godard continued his quest to cast Karina, and accepted the role of a pro-Algerian activist in his next film. Le Petit Soldat, which wasn’t released until 1963. The pair quickly bonded and began a romantic relationship. But this ended in 1965, as Karina recalls: “I know he didn’t mean to hurt me, but he did. He’s not there, he’s not coming back, I don’t know where he is. He turned me on a bit.
Although Karina is famous for acting in her husband’s films, she starred in many other films apart from Godard. He worked with the likes of Jacques Rivette and Rainer Werner Fassbinder. Along with him, Karina directed several films of her own, in which she acted. Here, we see his career through six films.
Six movies of Anna Karina:
A woman is a woman (Jean-Luc Godard, 1961)
Marking Godard’s first color film, A woman is a woman (or A Woman is a Woman), featuring pink and purple, with Karina’s look being remembered for her blue glasses and eyeliner. We follow exotic dancer Angela as she tries to convince her lover Emilie to have a baby with her. Although Emilie is not ready for the role, Alfred is Angela’s friend and admirer.
Karina’s performance is powerful and captivating, and it’s hard to imagine how Angela could be played by anyone else, without forcing a fun play with ease. The film includes the unforgettable book scene, where Angela and Emilie refuse to talk, instead communicating through the book titles they pull on their shelves.
Vivre sa vie (Jean-Luc Godard, 1962)
Photographed in beautiful black and white, Vivre sa vie It is one of Godard’s best works, recalling the life of an actor who slowly fell into adultery. Author Susan Sontag praised it Vivre sa vie when it is released as “reveal, evidence. It shows something that happened, not why it happened. It shows the inexorability of an event.”
This is achieved through 12 episodes, showing Karina’s Nana as she navigates the ruins of her life. Karina’s performance was amazing, and the way she cried while watching The Passion of Joan of Arc was unforgettable. Godard not only addresses the similarities between Joan and Nana but also draws attention to the importance of cinema as a creative, transformative experience – not an escapist one.
Band and half (Jean-Luc Godard, 1964)
In 1964 Godard’s film Band section, Karina stars as a young woman caught in a robbery after meeting a man in her English class. Although Karina’s character here is deeper than the Vivre sa vieHis presence on the sidelines cannot be forgotten, even though he is the problem of all for a unique moment.
Band and half There was a lot of influence on the film. The famous dance film inspired a similar dance film by Quentin Tarantino Pulp Fictionand the time when the three criminals fled The Louvre is linked again The Dream a Eye Areas.
Pierrot le Fou (Jean-Luc Godard, 1965)
One of Godard’s most successful films, Pierrot le Fou, This is one of Karina’s greatest works. Featuring multiple animations, four-panel breaks, different editing options, and music, Pierrot le Fou He is the main producer of American gangster movies, with a more political side.
Karina stars alongside another Godard collaborator Jean-Paul Belmondo, and the pair have an undeniable chemistry that sets off where their relationship will go before it even begins. Along the way, Karina’s Marianne continues to impress, while performing an upbeat musical number that’s a joy to behold.
Religious Day (Jacques Rivette, 1966)
Proving herself to be a very talented and talented artist outside of Godard’s work, Karina teamed up with Jacques Rivette to create a fake. Religious Day. The actress plays young Suzanne, who is thrown into a church against her will by her family. He struggles with his faith as he fights for freedom, which is tested by the mother Madame de Chelles who loves the young woman.
Rivette balances between churches and prisons to find an end to women’s oppression, and Karina shines as a determined young woman who demands to be free. Religious Day It’s a far cry from Karina’s great performances in Godard’s films. But he shows his ability to play a serious role, which combined with claustrophobic cinematography and an unconventional story, makes for a fascinating watch.
Chinese Roulette (Rainer Werner Fassbinder, 1976)
Karina’s role as Irene in Fassbinder’s Chinese Roulette is another example of how an actor can shine when given dark roles. The film follows a couple who share their vacation home with their lovers in a car, resulting in a true drama that threatens to ruin everything.
Each character is brutal and ruthless, and Fassbinder used the setting as an exploration of the fascism that still prevails over people in post-war Germany, who struggle now with the ideas that dominated decades ago. Karina’s Irene is cold while harboring vengeance and guilt.