Before there was Scarlett Jo, there was Anna Karina. We first met when I was a romantically struggling undergraduate, and although other iconic film stars have seized hold of me since, I hold a special place for this particular muse of the french new wave.

Nearly all young men (and some old ones as well) have a kind of quasi-romantic fascination with some or other hollywood starlet (or starlets as the case may be). Although many men are loath to admit it, you can learn a lot about a guy by finding out who his favorite actresses are.

Why Anna, you might ask? Well, because she is beautiful obviously. But not the kind of over-stated, augmented beautiful that seems to be everywhere these days. Her beauty is cool, collected, intelligent, dark. Kind of dysphoric rather than euphoric. There is courage here, but also empathy, and whimsy, and perhaps even a little cruelty, certainly pain.

My first encounter with Anna Karenia was in Goddard’s Vivre sa Vie, a role in which she plays, as per Wikipedia:
a young Parisian woman who abandons her marriage and a child in order to pursue a career as an actress. Faced with financial troubles she drifts into prostitution. Nana believes she makes this choice of her own free will, but the film emphasizes the social structure that forces the poor into such situations, and builds to a tragic conclusion.
Obviously a difficult role, certainly a morally ambiguous role. So, I ask myself, “Could this kind of film be made today?”
And if it were, is there an actress who could hold such an unwieldy thing together by her sheer presence, through the movement of her lips and the tears from her eyes?
Why Anna Karina? Because her work nearly fifty years ago still seems as radically different as it does today? Because instead of the empathetic insinuation of the french “to live her life”, now we have only the infinitely banal american “sex and the city”? Is this where all the identity politics of the last four decades has gotten us?
I’m not sure. But when Anna watches the Passion of Joan of Arc - in one of Vivre’s crucial scenes - and the tears role down her face, I believe it. I believe it more than anything Carrie Bradshaw will ever tell me.
