While I am trying my best to postpone my exam preparation, I might as well attempt to write down a few random thoughts on the wonderful films I have seen lately, before my impression gets diluted by my overwhelming infatuation with Juliet Berto. I often amuse myself for my dressing up in nice shirt and dress pants just to see her in Duelle.
L'Amour fou - Whoa, despite my appreciation of its worth and audacity, I have problems with this movie. Half of the time for its 4-hour duration is spent on rehearsal scenes - actual rehearsal scenes, without any of the playfulness and experiments seen in Out 1. Instead, we experience the frustration and repetitiveness of theatre production. These scenes, however, are gorgeously shot, with swooping camera movements that rival the work of William Lubtchansky. Together with the naturalistic acting (probably the most naturalistic one would ever see from Rivette... aside from Hurlevent), the film almost feels strange as the precursor to Out 1. Nevertheless, as someone who is unfamiliar with Racine's play Andromaque, I admit that I find the rehearsal scenes excruciatingly tedious - although I am dead certain that the tedium comes from Rivette's design.
On the other hand, all the scenes involving Bulle Ogier are pure gold. She successfully presents herself as the most psychopathic beauty in the history of cinema, although her behaviors and temperaments come forth as totally understandable against the exasperating imbecility of Jean-Pierre Kalfon's character. I can hardly understand why movies on marital discord always require the participation of an emotionally backward husband who chooses escape rather than communication. L'Amour fou, in this case, is an extreme model of such irresponsibility, as Kalfon's character, whenever sensing the prospect of a conflict, either escapes to work or starts to play drums. Why are people so unwilling to face confrontation?
My good friend Arthur, however, urged me not to take the film for its superficial values, as it portrays a post-1968 mentality, when the idea of "work as fun" and the possibility of doing something great come to an end. He said that the film signifies "the end of an era" - and it is true that the film feels like an elegy. In any case, I am too distracted by the awful husband to contemplate any external meaning.
Duelle - A fashion show in the veins of 2046, only a million times more memorable. After a few days of rumination, Duelle is now my second favorite Rivette. Whether Juliet Berto's presence has anything to do with my affection, I refuse to take into account. As magical as Céline et Julie vont en bateau, Duelle left me dazed for days, although unlike Céline, Duelle is dark (literally) and nasty (in a sexy way). This is the first time I see Juliet Berto acting without succumbing to her personality (although the so-called "personality" comes from her characters as Céline, Fréderique, and the angry chick in Week-end). I have the feeling that Rivette has purposely reversed the roles for Juliet Berto and Bulle Ogier, as in this case, Ogier plays the wild and seductive Sun Goddess, while Berto impersonates the more classy and enchanting Moon Goddess. My only complaint is that we don't see enough of Juliet Berto, and that too much attention is spent on the dumb humans! Mais, c'est la vie.
Two of the most adorable features of the film (that doesn't involve Juliet Berto) are the ubiquitous pianist and his piano. They appear in almost every scene to provide on-screen music accompaniment (sometimes catching the characters by surprise). Frankly, I have never seen anything like that.
Noroît - Possibly the weirdest movie I have ever seen and will ever see. It would really help if I had read Cyril Tourneur's The Revenger's Tragedy, but alas, I had no idea what was going on for the most parts of the film. It involves mostly female pirates, some of them in drags, others in disco attire. These characters often burst out in laughter for incomprehensible reasons. I think I need to stop writing now since the more I write the more I expose my lack of literary background.
The DVD (double feature with Duelle) is coming via FedEx from FNAC. Let's see how well I can understand the film without English subtitles.
L'Amour par terre - Great fun, with some long-lasting feelings of affection. Jane Birkin and Geraldine Chapline present themselves as the best on-screen female couple only second to Juliet Berto and Dominique Labourier. The charm and playfulness of this film dwarf the melodramatic farce of Va Savoir. I can finally understand why Va Savoir is considered a lesser Rivette, because it dims in comparison with a major work like this. Nevertheless, the last act feels rather rushed and abridged. I look forward to seeing the full version (169 minutes) from the Arte DVD set. Nevertheless, even in its abridged form, L'Amour par terre is absolutely indispensable. Everyone who loves French cinema should see the film. My third favourite Rivette.
Hurlevent - Easily the most beautiful film Rivette has done in terms of visuals and sound (and William Lubtchansky is not even managing the cinematography). I can understand why most Rivette fans do not embrace this picture. It is, evidently, missing humor, inventiveness, and personality. Emily Brontë's child-like characters feel out-of-place, and some audience even complain that the actors in the movie are "Bressonian models" (namely ones who give "living dead" performances). Nevertheless, this is as good as straight narrative goes - no overacting, no "movie music." Every frame has essential elements, every camera movement has narrative significance. Some might feel manipulated by the ethereal and magnificent soundtrack, but hey, it's Le Mystere Des Voix Bulgares!
Tomorrow: La Belle Noiseuse: Divertimento and Claire Denis' documentary.
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