In the photo above, Brigitte Bardot’s Camille is wearing a black wig similar to the hairstyle of Anna Karina in Vivre sa Vie. Karina’s Nana is quite similar in her overall look to Louise Brooks, the silent movie actress. (And while it is true that Brooks worked with GW Pabst in German films, she remained a contract player at Paramount where she originated her look.)
Keeping these American influences in mind, I return to Zavattini who said in his A Thesis on Neo-Realism “whereas we are attracted by the truth, by the reality which touches us and which we want to know and understand directly and thoroughly, the Americans continue to satisfy themselves with a sweetened version of truth produced through transposition.” (Zavattini, 69) This condemnation brings up a series of questions:
Would it be accurate to describe Godard’s relationship to the American cinema as a secondary relationship, a step removed from any primary responsibility since he is not American and does not make films in America?
If we can say that his is a secondary relationship, is it that removal which allows his characters to be inspired yet their American influences to be lacking, if we agree with Zavattini?Sienna