à la recherche de Juliet Berto

The long weekend is almost over. Aside from stuffing myself with sashimi and volunteering at the film center for 3 nights, I have accomplished nothing. Although I have without doubt reached a new frontier of idleness, what preoccupies my mind is not frustration, but an uncanny state of nonchalance. That same old feeling of loneliness has also made its return, somehow expedited by the events taken on and after the boat cruise. They, however, belong to another story, one unworthy of this blog space.

While searching for the script of Céline et Julie vont en bateau with no success, I came across a lengthy article by Julia Lesage at Jump Cut. It is definitely the most insightful essay I have read alongside Robin Wood's analysis at Jacques Rivette dot com. The most valuable information Lesage offers is evidence that refutes my assumptions of Juliet Berto's personality. It turns out, thankfully, that she is not playing herself at all with the character of Céline. Actually, on the contrary:

Berto considers herself an orderly and structured person, unlike the character Celine, so she was fascinated by creating that role and writing dialogue using street language. In her professional life, Berto is a strong figure, prominent in the actors' union.

Also quoted by Lesage and mentioned by Jonathan Romney is Juliet's personal retelling of her working methods:

"During the filming, we got up early in the morning and told each other our dreams, which the film depended on... We wrote our lines each morning and evening... [and we always] knew what stance we had and why. Everything is doubled in this film, which also talks about the acting profession in its relation to the spectators, whom we often act aggressively toward without real malice."

Rarely have I felt such a strong desire to know a person. I wish I were born in the same era, so that I could listen to Juliet sing, and perhaps share her radical preparations for the destined 1968 student revolt. I don't even think I am worthy of a conversation with her. First of all, I don't speak French that well. Secondly, I have the feeling that I am shorter than her.

After my Rivette DVDs arrive from alapage, I will order Juliet's (perhaps only published) book, maybe together with Chantal Akerman's box, Pedro Costa's Casa de Lava, or Darezhan Omirbaev's movies.