Like Anna Karina's Anna

A holy grail landed on my doorstep the other day. Years ago, while navigating my way through late-night German television, I stumbled upon Pierre Koralnik's 1967 téléfilm Anna, starring Filmbrain muse Anna Karina. My knowledge of the film at the time was limited to the Serge Gainsbourg soundtrack, with its famous cover photo of the former Mrs. Godard looking a bit blue in the face. And though tired and drunk on Kräuterlikör, I was positively mesmerized by this psychedelic mod-pop musical. Attempts at obtaining a copy of the film led to numerous dead-ends over the years, but my persistence finally paid off, for I now possess a DVD of the film that, while not the best quality, allows me to indulge, repeatedly, in this forgotten minor-masterpiece of 60s culture. I'm convinced Anna would not be languishing in relative obscurity had it not been a made-for-TV movie. A combination of Godard's playful subversions and Jacques Demy's candy-colored musical romanticism, Anna is a uniquely fascinating document of the era, as well as a monument to both pop-culture and the pre-'68 Paris scene. Sure, it may not stand up to intellectual scrutiny, but at the very least deserves a prominent place in the history of the French musical. Anna opens with a bang — a politically charged scene that calls to mind the work of Otto Mühl and the Viennese Actionists: a large group, decked out in sportswear and clear plastic coats, attack each other with paint. (Viet Nam allusion cum fashion statement?) It's a remarkable sequence that is in no way indicative of the wafer-thin romantic drama that follows, though the film does occasionally lapse into Fellini-esque anti-war musical sequences, including GI Joe, one of enfant terrible Gainsbourg's more acerbic songs. (GI Joe you will die under the American flag/GI Joe all the rockets will have your American skin!) Though the DVD is without subtitles, the story couldn't be simpler — Successful ad-man Jean-Claude Brialy has fallen in love with a face on a photograph. Obsessed with finding this woman, it's not long before giant posters of the image are plastered all across Paris. (Blowup influences abound.) The face belongs to Ms. Karina (natch), the titular Anna, a dreamer who spends a fair amount of her time wondering if she'll ever find Mr. Right. And though she works in the same ad agency as Brialy, he doesn't recognize her as the mysterious beauty because she (get this) wears glasses! (Yes, that staple of the 80s music video is here a major plot point.)

Save for a few moments of actual dialog, the story is told primarily through Gainsbourg's songs, which are sung (though in the case of Brialy, spoken-sung) by the characters. A young Marianne Faithfull turns in a wonderful rendition of Hier ou Demain, and Gainsbourg himself is on hand for a few duets. These are easily some of his strongest compositions, and some view Anna as the precursor to his 1971 masterpiece Histoire de Melody Nelson. Here he shows off both his pop-hit skills (the classic Sous Le Soleil Exactement and the Wild Thing-inspired Roller Girl) as well as his talent as orchestral composer, which at times sounds very Bacharach-esque: Download Sous Le Soleil Exactement (Orchestral Version) Koralnik (who would go on to direct the disappointing Cannabis) borrows from several of his contemporaries — his street scenes have Truffaut written all over them, his use of non-diegetic sound (pinball machines are heard throughout) is reminiscent of Godard, and its overall approach to the musical is rooted in Demy's Les Parapluies de Cherbourg. But first and foremost, Anna is a genuine paean to its star, and Koralnik films her as lovingly as Jean-Luc did years earlier. She's shot almost entirely in close-ups, and at times the film feels like an extended study of her facial expressions. It's an Anna Karina-fetishist's dream come true, and seals her place as one of cinema's most beautiful women. It high time that Anna was rescued from the land of the forgotten téléfilm and given its due. No future compendium of essential 60s cinema will be complete without it. Though unavailable by any legal means, there are a handful of clips available on YouTube, including the one below, which finds Anna daydreaming about a place directly under the sun. If ever I were to compile a list of scenes I'd want with me on a deserted island, this would certainly be on there. Enjoy:

Comments

[CK Dexter]

I've always been curious about this one, thanks for the review! I've been looking for it myself, since I worship both Serge and Anna. I have to admit, however, after watching some clips, I find the aesthetic not quite to my taste. Maybe it's too far over that 60's/70's border of style? Kind of William Klein-y in its over-the-topness, and I have a hard time forgiving anyone putting those silly glasses on Anna's beautiful face--though that last posted photo makes them so worth it. Is the soundtrack still in print? I tried obtaining it a few years ago and couldn't seem to find it. Those Gainsbourg lyrics for GIjoe are surprisingly brutal! But I guess this is about the era where his music takes a much darker turn...

[Filmbrain]

You're not far off the mark with the William Klein comment, though I feel Anna holds up better than other similarly styled films of the era.

I'm guessing that Bob Fosse saw this film, for there are scenes that reminded me of All That Jazz.

The soundtrack is available, though it might be an import only.

[Eric]

I totally have a thing for girls in glasses and those photos are amazing. And thanks for the clips and the m4a. Now I need to find this movie and take a look at it.

[la_depressionada]

love her more than life itself! coincidentally i have been downloading a ton of french pop music for a party i'm having including ro-ro-roller girl. ck, i imagine you would be able to find quite a bit of it online. i have been stunned at how much i have been able to find. (and other great stuff too -- i love marie laforet's marie douceur, marie colere [paint it black]).

[CK Dexter]

La depressionada, I'd completely forgotten about that cover of Paint it Black. It's fantastic. If you don't have it already, another good addition to your collection of French pop would be the theme song from Godard's La Chinoise, "Mao Mao." I think it was posted on this blog not too long ago, wasn't it Filmbrain?

[Filmbrain]

Yes, CK -- you can find Mao Mao here.

LaD -- I've had Ro-Ro-Ro-Rollergirl stuck in my head for days now.

[la_depressionada]

yes thanks. i have been thwarted in obtaining Aufray Chante Dylan. i may unfortunately have to buy it. any recs would be appreciated.

[prokosch]

I've been waiting patiently for someone to write something on this film. Although I have yet to see it, I happened upon the soundtrack about six months ago and love love love that version of "Sous le soleil exactement," as well as "Roller Girl." Man, I wish she would have done more pop songs.

Massive props, and thanks for the YouTube links. I am terribly envious that you managed to swindle a DVD of that; the screencaps shall have to suffice in the interim as desktop wallpaper.

[Jean Segura]

Petit historique du film Anna de Pierre Koralnik par Jean Segura

C’est le vendredi 13 janvier 1967 à 21h40 que les téléspectateurs français découvrent Anna sur la 2ème Chaîne de leur poste TV noir et blanc.

La comédie musicale de Pierre Koralnik fait alors l’effet d’une bombe dans le paysage audiovisuel des années 60 ; secouant la France engourdie des années gaulliennes par son côté « nouvelle vague », la photo peu académique de son chef opérateur Willy Kurant, la chorégraphie endiablée de l'américain Victor Upshaw, et les chansons aigres-douces de Gainsbourg.

Les arrangements de Michel Colombier, qui dirige l’orchestre, vont donner des couleurs électriques à la partition de Gainsbourg, déjà sous l’influence du rock d’outre-Manche.

Quant à Anna Karina, encore très marquée « Godard », elle va, aux côtés d’un Jean-Claude Brialy séduisant et désabusé, dévoiler aux téléspectateurs la plénitude de ses talents : chantant et dansant Gainsbourg, tour à tour rockeuse ou romantique, comique et bouleversante, maladroite et charmante.

Les apparitions d'Eddy Mitchell et de Marianne Faithfull, deux chanteurs de qualité, sont une raison de plus de se réjouir.

À la suite du film vont sortir un album 33 tours et un 45 tours, disques devenus très vite « collector », d’autant que Sous le soleil exactement, interprété par Anna Karina, est immédiatement un tube et que le titre restera, dans l’œuvre de Gainsbourg, un avant goût de ce qu’il fera plus tard avec Bardot et Birkin.

Mais une rumeur laisse entendre qu’une sortie en salle est prévue. Le 17 avril 1967, Anna est présenté à l’ouverture du troisième Festival de Jeune Cinéma d’Hyères.
Cependant, ni cette tentative ni d’autres n’y feront.…

Voir l'article complet de Jean Segura, auteur et journaliste français sur le site http://www.ruedescollectionneurs.com/magazine/mag/anna.php

[Mike]

huh?

[Michel Robidas]

J'ai vu ce film en 1969 et entendu le33 tour pendant 3 ans dans un café.Cefut un choc esthétique et je suis content de savoir que quelqun d'autre est passionné par cette oeuvre Merci pour les informations sur le site Michel de Montréal Québec

[Jackstone]

Mlle. Karina revived her singing career. Check out her CD "Une histoire d'amour" and a compilation of many of her movie songs, "Chansons de films". She sang a hilarious tango number in Jonathan Demme's "Truth About Charlie". And the good news is that she's currently filming "Victoria" in Montreal. She wrote the script and directs herself in it. It's a road movie with songs by her collaborator, Philippe Katerine.