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SPEAKER_04: This August on Womanaca, we're taking a trip through history to discover the stories of Muses, women whose lives inspired work that's shaped our culture in small ways and large. Special thanks to this month's sponsor, Mercedes-Benz, whose own famous namesake was inspired by a young muse named Mercedes. Join us all month long for fascinating stories of women who are drivers of creativity, inspiration, and artistic expression. Hello, from Wonder Media Network, I'm Jenny Kaplan, and this is Womanaca. This month, we're talking about Muses, women who've captivated artists with their charisma, wit, and talent. Today, we're talking about the actress known as the face of French New Wave cinema. Her work with director, Jean-Luc Godard, shaped the evolution of film in the late 20th century. But she wasn't just an icon of the silver screen. She was a director, a filmmaker, and a director of the film. She was a director, a hit singer, a novelist, and a model. Meet Anna Karina. Anna was born Hannah Karin Black Bear on September 22nd, 1940, on the East Coast of Denmark. Anna's father abandoned the family when she was a baby, and her mother was neglectful. Anna spent much of her childhood in and out of foster homes or staying with her grandparents. She dropped out of school at 14 years old. Anna grew to love the magic of movies during nights at the cinema. When she was 17 years old, Anna hitchhiked from Copenhagen to Paris, determined to make it as a performer. She spent her early days in Paris burning through her meager savings. She floated around the city looking for work and spending long hours in movie theaters. Tickets were cheap, and she watched the same films over and over to learn French. One day, a modeling agent spotted the teenage girl at a popular Left Bank cafe. She asked Anna to join an upcoming ad campaign for blue jeans. The agent later said, "'She was really dirty, but she had an incredible gaze "'that seemed to devour everything around her.'" Anna didn't love modeling. She had a hard time sitting still, but the jobs helped her get a foot in the door. Anna described one particularly important meeting at a photo shoot like this. The woman came in with a big hat. She was 66 or 65 or something like that, but very beautiful. The beautiful woman in the hat told the teenage model that her Dutch name wouldn't work if she wanted to be an actress. She suggested Anna Karenina, after Tolstoy's Anna Karenina. Anna didn't realize that the chic woman was actually fashion royalty. She recalled, "'Afterwards, everybody told me it was Coco Chanel.'" Anna's modeling days came to an end after director Jean-Luc Godard stumbled upon her in a cinema ad for Palmolive soap. He offered her a small role in his film, Breathless, but Anna refused. Why? The part required full nudity. "'I don't want to take my clothes off,'" she told the director. Months later, Godard reached out again, this time with a leading role in The Little Soldier. It was a serious film about terrorism in the French-Algerian War, and Godard promised Anna she wouldn't have to strip. She said yes. Anna went on to star in seven of Godard's films from 1961 to 1966, including the beloved New Wave film Band of Outsiders. Anna thrived on Godard's eccentric sets, where actors usually received dialogue mere minutes before the cameras started rolling. Audiences loved her earnest style and infectious, youthful energy. Godard loved her, too, and not just as a muse. The two fell in love while making their first film together. Anna said, "'Little by little, we attracted to each other. "'We had something very special "'that you couldn't get away from. "'It was magnetic.'" Anna was 20 years old, 10 years younger than Godard when they married in 1961. Off-screen, life got difficult. Anna suffered a miscarriage and struggled with suicidal thoughts. Godard became unreliable. Anna later said, "'He would say he was going out for cigarettes "'and then come back three weeks later. "'And at that time, as a woman, "'you didn't have any checkbooks, "'you didn't have any money. "'I was sitting around the apartment without any food.'" The couple divorced in 1965. Anna went on to be married three more times. Her last marriage, in 1982, with director Dennis Barry, lasted until her death. Anna kept starring in films, but never again worked with Godard. She also had a brief but successful singing career with a few late-1960s French radio hits. ["The World Is Your World"] In 1973, Anna made her directorial debut with the largely ignored, Living Together, a film about a tumultuous love affair. A decade later, in 1983, she published Golden City, the first of four novels she would write during her lifetime. In 2008, Anna directed her second and final film, Victoria, about a woman with amnesia. As she grew older, Anna became more outspoken about the poor treatment actresses endured in 1960s cinema. She told an interviewer in 2016, "'If you were a woman, you didn't really have a voice. "'If you were a woman, it was just, "'be beautiful and shut up.'" Still, she always looked back fondly on her work with Godard and never hated being called his muse. Anna said, "'It sounds so pompous, "'but of course I'm always very touched "'to hear people say that, "'because Jean-Luc gave me a gift "'to play all of those parts.'" Anna died in a French hospital on December 14th, 2019. She was 79 years old. All month, we're highlighting muses. For more information, check us out on Facebook and Instagram at Womanica Podcast. Special thanks to Liz Kaplan, my favorite sister and co-creator. Talk to you tomorrow.
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