Martyrdom (?!) And Sainthood (!?) Of A Uniquely Incredible Human Being

Nana as a salesgirl

Nana is working as a salesgirl. But she understands (and here is her difference from other salesgirls) that if she will continue – robot-likeness will become her essence.

Joan of Arc’s tears from Nana’s eyes

Nana is watching “The Passion of Joan of Arc” by Carl Theodor Dreyer (1928) with the incredible Falconetti. Joan’s tears on Nana’s face became Nana’s own, and their destinies as if became one, which then quickly bifurcated into a new two – that of the human destiny and the history of cinema from Dreyer to Godard.

Nana and her future martyrdom

As a viewer of Joan in the film – Nana becomes a saint (in the previous shot Nana is in the process of psychologically identifying with this unique personality of human history), but in this still Godard shows her, as if she is becoming ready for her own martyrdom. Now she, as if, unconsciously feels her future destiny, without any (conscious) posturing, of course – Nana is not a star – she is just a lost gaze at a movie theater.

Nana’s noble appeal

Nana is simultaneously full of tender but resilient vitality and a stubborn desire to live graciously, and she has the ability to do so. Nana’s appeal to the people in this still makes her beautiful in a new sense, without any attempt to be attractive. She is irresistible in a holistic sense – as a human being.

Eclipse of Nana’s face

Nana survived for a while on trivial jobs. She posed for nude photos. She didn’t want to be a limb of a couple. She abandoned her baby because she couldn’t accept being recruited by the social institution of marriage subduing women’s internal independence and psycho-existential potentials. Pursuing what was more important – her internal freedom, she, trapped by poverty had to risk the obvious – external one: she tried to find a kind-and-gentle pimp (during the times reflected in the film, prostitution as a commercial enterprise was legal in France).

Nana, who nurtured her internal world and has a bent for tough self-reflection and who as a woman wasn’t a feminist – socially and financially imitating men, preferred to be a prostitute because it gave her chance to be emotionally freer in comparison with people of “normal professions”, who have to be permanently fighting for positions and careers. The naïve and “innocent” tricks inseparable from being prostitute, were much more “honest” than being manipulated and controlled by the conventional system of financial survival.

Nana’s face has disappeared by the intrusion of her pimp’s profit-calculating head

Nana as a prostitute

Yes, Nana was agreeing with her job’s demands, because her work was more… honest. She worked for her money without pretending to be incarnated in more than a woman’s body (where this “more” is a financial system based on masked calculation and on conformism).

Nana has a discussion with a philosopher

Nana is talking to a professional philosopher and learns about the pluses and minuses of the use of human language and the ability to communicate.

Nana-the “witch” or Nana-the martyr?

Years of working as a prostitute made Nana develop an intuitive mastery of the human soul. She built her inner world based on the knowledge of human banalities, eccentricities and paradoxes. She felt that the truth about human crude innocence, petty “horrors” and agonizing sentiments made her freer, than any typical profession could. In this shot we see a drastic difference between Nana and a regular woman, Nana’s colleague.

Nana’s incredible “somatic” dance

But Nana’s psychological maturity started to create surprises in her life, including strange lacunas of naiveté in her tastes and desires. Her internal world was developing without conventional psychological and mental slag, but also without the knowledge of what existential waste is. Her extraordinary character flowered without her understanding the context and the value of this flowering. She has elevated the human nature as an object of love by the very giftedness of her soul, but outside her amorous creativity human nature was as a poisoned wildness.

Nana fell in love as on a dusty soil

With all the colorful irresistibility of her character Nana fell in love as into dusty sludgy soil.

Nana is eliminated from the system

Falling in love amidst financialization of human relationships is, as if, being caught in the middle of dangerously extreme over-investment triggering bankruptcy. Nana’s pimp used her as a payment to settle his debt by the price of Nana’s life. Her intuitive prophesy about her martyrdom came to life in her death.

Posted on Sep/28/2012 –   Jean-Luc Godard’s “Vivre sa vie/My Life to Live” (1962) – One Extraordinary Woman’s Path Through Marriage, Motherhood, Search for Job, Prostitution, Romantic Love and Verbal Communication with Others by Acting-Out Politics

Posed on June/23/2014 –   “Vivre sa vie/My Life to Live” (1962) by Jean-Luc Godard  by Acting-Out Politics