Brandon’s movie memory

“It’s in my style as homage to Bunuel’s style which is very different.”

Very spare, a couple talky dialogue scenes but mostly quiet, with pillow shots of Paris at night between scenes. Opening titles at the symphony, Husson spies Severine, out to the street, to a bar. Her hotel, a near miss. Back to the bar, Husson confesses what’s on his mind to the bartender - this scene must contain over half the dialogue of the film. Another chance meeting on the street, an invitation to dinner. At dinner Severine wants to know one thing, but Husson plays around, doesn’t tell her. She storms out. A chicken! He pays the servers from her forgotten purse, they clean up after he has left.

Piccoli (right) with the director’s grandson Ricardo Trêpa

Bulle Ogier also acted in Bunuel’s Discreet Charm

Piccoli, reprising his Belle De Jour role, was in a pile of other Bunuel films

N.D. Carlson of Cineaste has a compelling explanation for every part of the film: why it works and what it means… a wonderful analysis.

Sam, as usual, sees something I don’t see, even when I’m seeing what he saw, since it was his favorite narrative film of the year.

M. Dargis calls it “an act of critical violence.”

J. Rosenbaum calls it a “sequel–or tribute, or speculative footnote … more about class and less about sexual desire”

M. Piccoli: “Very often, cinema is indecent. What characterizes Manoel de Oliveira and Bunuel is their reserve. But don’t get me wrong: this reserve allows them to explore the most secret gardens of our existence. They are very modest but very immodest when it comes to shaking the imagination of the audience.”

What to say? Despite my recent Rivette obsession and how I was looking forward to this, I didn’t love it. But I didn’t expect to love it, since it’s a period piece about upper-class people unable to declare their love for each other because of societal restrictions, and I tend to hate that kind of story. I got to watch fave Rivettian actors Bulle Ogier and Michel Piccoli and Barbet Schroeder (all sharing a scene) but they’re hardly in the movie and they play gentle, wise elder friends and relatives, with a bit of dialogue but no passionate acting showcases. I got my Rivette themes and trademarks served up: conspiracies, secret rooms, performance (explicitly at the convent, but throughout as the two toy with each other), real locations with creaking wood floors, oceanside drama, but all enslaved to this book-to-film adaptation of Balzac - something that I thought Rivette just said he’d never do in the DVD interview on Belle Noiseuse, that he dances around Balzac in his film writing (that one and Out 1) because a direct adaptation would be impossible. In the story, Montriveau is one of the notorious 13, but the name of the group is never stated here. Anyway, we also get very good performances from the leads - Guillaume Depardieu, lookalike son of Gerard who once played his dad in flashback in Les Misérables, with a false leg used to great effect here on the wooden floors… and Jeanne Balibar, who I don’t remember from Code 46 or Clean, and haven’t seen yet starring in Va savoir.

Not much outward passion to the movie, emotions seem detached (I know, that was the point, sorta) but it has a quietly affecting ending aboard Montriveau’s ship after he breaks into the convent and finds the Duchess dead. The plot being easy to follow, I started paying attention to nerdy cinema stuff like the quality of light (all supposedly from sunlight and candles) and the sound (music used very sparingly, as usual). Sound was rough because of the loud hissing and gurgling noises coming from the ceiling at the Landmark, and picture was even rougher since the film was projected out-of-focus (except for the left third of the screen, which looked lovely). So it was easier to measure the quality of light than, say, the details of costumes and decor. I’m not much for decor anyhow.

Definitely closer to Hurlevent (Wuthering Heights) than to anything else I’ve seen Rivette do. At least I learned how Duchess of Langeais is pronounced (vaguely: “lawn-jay”). This Balzac story was previously filmed a few times, from a 1910 lost silent to a 1995 TV version adapted by the co-writer of Goya’s Ghosts.

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Excellent analyses found on other sites:

E. Howard:

Games are the film’s central conceit, in fact, whether they be word games, mind games, literary games, games played between appearance and feeling. The game being played at the narrative level takes place between a General and a Duchess … But this is only one game that Rivette is toying with, and he plays an entirely different one with the audience, a game of subtle winks and sly nods that continually disrupts the placid surface of the narrative … This narrative disruption is mirrored in the way the General’s story to the Duchess, about his time lost in the desert after escaping from the enemy’s imprisonment, is continually interrupted, usually by the listener’s short attention span and her tendency to divert the flow of the conversation just as the story is reaching a critical juncture. This results in the General’s story being doled out across three successive evenings that they spend together early in their relationship. On the third night, as they settle in to continue the story, Rivette frames the Duchess in a tight closeup as she asks her would-be lover to finish the tale. At this moment, she turns a sly sidelong glance directly into the camera, maintaining eye contact with the audience, as though to include them in the game.

This game of narrative interruptus is also carried through in the way Rivette uses the text of the film’s original source, a novella by Honoré de Balzac. This is a rigidly faithful adaptation… with texts from the novel periodically included as intertitles to highlight certain moments or get at the characters’ internal states. The titles are also used to convey the passage of time, which is parceled out in scrupulously precise measures: “one hour later,” “twenty-two minutes passed,” “she waited twenty-four hours.” These titles often seem to abruptly cut off the action, sometimes flashing up on screen when, after a long scene of near-stasis, a character is right in the middle of completing the scene’s first real movement or action (most often: leaving the room). The passage of time, like everything else in the film, is subject to Rivette’s subtle humor. After the Duchess kicks her friend out of her house, a title informs us that it one hour passes (a very common interlude), and surprisingly in the very next scene there’s the General again, still standing in her parlor, walking around it aimlessly, looking like only five minutes has passed since she ordered him to leave. Rivette’s use of these titles is obviously very sardonic and mannered, as when he uses a long series of images of the Duchess at a party as though it constituted a clause in between two dashes in a sentence: “the Duchess searched for him —” followed by the visuals and then, when the dangling phrase had almost been forgotten, “— in vain.”

J. Romney:

Characterised as a sort of Napoleonic wild beast ill at ease in the tameness of Restoration Paris, Armand - a general newly returned from Africa who initially fascinates married duchess Antoinette with stories of his exploits - is associated from the start with the great outdoors, prowling Mallorca’s windlashed ramparts, while Antoinette is first seen doubly imprisoned, in nun’s cowl and behind a grille.

The film is largely set in a series of enclosed salon and boudoir interiors, an overtly theatrical domain in which Antoinette is a surpassing mistress of mise en scène. Preparing for Armand’s first visit, she arranges herself for maximum effect on a canapé, in discreet déshabille, ordering her servant to lower the lighting (the thematics of light and heat later extended in the fireplace that Armand pokes with barely contained sexual frustration, and in the brand with which he threatens Antoinette).

As actress, Antoinette is skilled at the well-timed entrance and exit, whereas Armand habitually arrives too early, or storms inopportunely into the star’s dressing room. It is part of Armand’s revenge that he at last masters both mise en scène and performance, in a startlingly excessive scene that replaces Antoinette’s poised comedy of manners with a lurid melodrama: in it, he plays a menacing Byronic ravisher, supported by masked men hovering around a brazier. This sudden eruption of violence in the middle of an analytical drama may seem wildly incongruous, yet the tonal discontinuity comes directly from Balzac’s story, and Rivette achieves the seemingly impossible in making such a disjunction work convincingly on screen. The violence at the heart of the story, together with its cautionary-tale aspect, is foregrounded by Rivette’s reversion to Balzac’s original title for his novel. The reference is to a veiled warning that Armand gives Antoinette, the axe being the English one that beheaded Charles I - the implication is that the reckless cause their own downfall. In reality, however, Armand himself figuratively wields the axe that will destroy his own chance of happiness.

D. Kasman:

How strange that a filmmaker who through the years has so loved process, often in terms of acting and theatre, of seeing the expression of things worked out awkwardly before us, and conspiracy, in terms of the hints that everything out there, out of sight and out of the film frame, may be connected, has decided to adapt a reserved, 19th century historical chamber romance. Oh, but with such a surprise we then get to engage in the pleasures of the hunt! For then we find things like this: how is the navigation of social rules and norms—a very real thing with a very allusive existence—like the theatre and how is it like a conspiracy? Well, it is not without reason that Rivette opens the film at the melodramatic peak of the couple’s aching separation—the Duchess a nun on a remote Spanish isle and separated from the General by the convent’s metal bars—and then transitions and flashes back five years to the couple’s meeting and affair through two sweeps of a theatre curtain. The stage then is not the actual island (filmed on location), but is the interiors of the Restoration period, in all their glory, wood boards creaking like an empty stage. …

It is like a game played again and again with different moves but the same results, the repeating drama inside the haunted house of Celine and Julie transposed to thinking, feeling participants. The drama exists in a hanging kind of closed-off world, all frustrated performances that are almost content, as the playfulness and acting gets close to true expression, true connection. But something holds everyone back, holds the drama back, holds the love back, and gradually both General and Duchess become obsessed with this vague, menacing limitation, a mysterious stopgap to happiness that can neither be seen nor surmounted.

Whew, I love all these themes that get read into Rivette’s work. I always wonder whether he’s aware of them and consciously shaping his films in this way, or if the themes are unintended and they are more or less created by the critics, or if they’ve just become a part of his creative process, so much that he doesn’t think about them as consciously as he used to, and they become more subtle and have to be drawn out by a viewer well familiar with his previous films. I sure hope it’s that last one!

D. Ehrenstein: The film is “dryly funny. Especially so when “the 13″ make their appearance in the last act, looking more like a left bank version of the Keystone Kops than a fearsome secret society.”

Stars Juliet Berto (Frederique in Out 1) and Bulle Ogier (Pauline in Out 1) as two mysterious women, Hermine Karagheuz (Marie in Out 1) as a somewhat less mysterious woman and Jean Babilée (a dancer not in a lot of films) as her brother Pierrot, and also Claire Nadeau and Nicole Garcia (Mon oncle d’Amérique, now a director).

Frederique fatale with the awesome Babilée:

I don’t really know what exactly happened in this one. I am willing to watch it again sometime to find out.

Music is improv piano and the pianist is on set, in the shot, even in places where he obviously does not belong. Acting and plot are perversely mysterious. After a bit I started pretending that this was a sequel to Out 1 and that Frederique, Pauline and Marie were the same characters from that film. I found that it didn’t make any more or less sense.

Bulle Ogier, after the world turns blue, In-the-Mouth-of-Madness-style:

There is a very powerful jewel which the two goddesses would like to possess in order to become human. Either the jewel or the goddesses tend to bring death upon people who mess with this jewel. Marie gets her hands on it and uses a Story of Marie and Julien-style spell to banish the two and return the world to normal.

David Ehrenstein has the inside scoop on literary references: “Our innocent heroine (Hermine Karaghuez instantly recalling Betty Schneider in Paris nous appartient) recites lines from Cocteau’s play [Knights of the Round Table] as a kind of incantation, much as Geraldine Chaplin reads lines from Cyril Tourneur’s The Revenger’s Tragedy in Noroit.” Rivette screened The Seventh Victim for the cast, and D.E. also mentions Bresson’s Les Dames du Bois de Boulogne as an influence.

Our heroine Marie:

A story from when Jonathan Rosenbaum visited the set:
“The next shot occurs on an even bleaker adjacent street with decrepit turn-of-the century houses and peeling paint, Viva and Lucie approaching from some distance again. But this time something extra-ordinary happens: a portly middle-aged woman with hair the color of ashes and sawdust, unaware of the presence of actors and crew, wanders down the street after the take begins and stoops over to peep through a mail slot in a tin fence — a Lumiere subject suddenly come to life. She steps back a bit, looks around: will she notice the camera on one side, the approaching actresses on the other? Rivette can barely contain himself; everyone holds his breath. She looks through the slot again, and just as she passes, Karagheuz has the ingenious idea of incorporating her as a prop, a temporary shield to hide behind… Lubtchansky declares it a successful take; certainly it’s an unrepeatable one. The woman wanders off, still oblivious to the movie she’s stumbled into, and I step over to the mail slot to see what she was peering at. The answer: nothing at all.”

I forget who this is, but she’ll be dead in a minute:

David Cairns put it best:

“Lots of creaking in this film! As the dolly trundles over wooden floors, a cacophony of straining wood announces its presence. Since the film has a very live soundtrack, there was obviously no way to eliminate these extraneous sounds, so they kind of make a mild virtue of them. The camera movements, couples with the moves of the actors, are extremely elegant and elaborate, and the symphony of sounds that accompany them all can be seen as atmosphere.”

Awesome costumes all round. The romance of 1976, with added ‘thirties vibe, plus MASSIVE sunglasses; veils; many hats; a silver-tipped cane and a magic gemstone activated by drops of blood…

Jean Babilée is an amazing physical presence, not just when he does his acrobatic feats, but just in his general movements, which are all like dance, even when maybe he’s just moving around so you can’t see how short he is next to the women.”

Rivette himself, before shooting on the four films began:

First, starting from the basic principle of each of the fictions, the building of not so much a traditional scenario as a canvas: a construction, a framework of some fifteen block-sequences. Evolving parallel in time, the four stories are all divided into three main sections, three acts, corresponding to the three lunar phases (from new moon to full, return of the new moon, then finally full moon again — therefore with the same number of transitions from darkness to light) which circumscribe the forty days of Carnival.

Then, during shooting, each “unit” (each block-sequence) will be subjected to a method designed to break down not only conventional dramatic techniques but also the more recent conventions of improvisation with all the prolixities and cliches it entails (hesitations, provocations, etc.), and to establish an ecriture based on actions, movements, attitudes, the actor’s ‘gestural’, in other words. The ambition of these films is to discover a new approach to acting in the cinema, where speech, reduced to essential phrases, to precise formulas, would playa role of ‘poetic’ punctuation. Not a return to the silent cinema, neither pantomime nor choreography: something else, where the movement of bodies, their counterpoint, their inscription within the screen space, would be the basis of the mise en scene.

In order to enable us to make a definitive crossing of this frontier which separates traditional acting from the kind we are looking for: the constant presence during shooting of musicians (different instruments and styles of music according to each film) who would improvise during the filming of sequences, their improvisation dependent on the actors’ playing, the latter also being modified by the musicians’ own inventions (recorded in direct sound along with the dialogue and the “stage noises” properly speaking).

Netflix says: “Art and life intertwine when four aspiring actresses study with a renowned film instructor in this acclaimed psychological drama directed by Jacques Rivette. Assigned to analyze the play Double Infidelities, the women - who also happen to be roommates - soon find themselves caught up in a web of suspense and scandal as the script spills over into their offstage lives.”

Only my seventh Jacques Rivette film, but here I am watching it going “oh that’s SO Rivette” as if I’m some expert or even someone who knows how to pay attention properly while watching a movie. Half (?) of this one takes place in Bulle Ogier’s theater, where the girls are practicing a play we never see performed, and I’m all “ooh, that’s just like in Out 1 and Paris Nous Appartient” but I’m not really paying attention to the text of the play, so whether the Netflix blurb is accurate I cannot say. Then we’ve got a secret conspiracy, the train rides from Secret Defense (done very differently here, brief and abstract, much better), a direct reference to La Belle Noiseuse, and Bulle Ogier and you’ve got Rivette 101.

The careful compositions and slow unveiling of story and character flow like a Rivette film, but otherwise I can’t say it was similar to his others that I’ve seen… the experience of watching them was very different. I guess it’d be the most like Secret Defense, if I had to compare.

Above: JR muse Bulle Ogier as a great actress turned acting instructor.

The titular four are Joyce, Anna, Claude and new roommate Lucia, who is replacing ex-roomie Cécile, who has started acting strange and disappearing a lot, caught up in her boyfriend’s criminal trial. In a mystical storm scene, Lucia finds some keys that Cécile has hidden in the apt., keys which could clear the boyfriend’s name while taking down someone powerful. Thomas is out to stop this at all costs, following each of the girls (mostly non-threateningly) and asking them questions, finally getting sometime-lesbian Claude to fall in love with him, gaining him access to the house so he can search for the keys. Cécile has also come back looking for the keys, and even Constance (Bulle Ogier) gets involved, getting arrested at the end for hiding Cécile’s boy after he escaped prison.

Some occasional Celine-and-Julie antics (see mock trial above). What movie has most in common with Out 1 is its split between the easily-summarized plot (above) and the theater scenes which add to the character of the movie but since I didn’t understand those scenes’ connection to the rest of the story, don’t come out much in my discussion.

Irene Jacob of “Red” and “Double Life of Veronique” had a small part, as one of the actors I think.

Above: the Four, left to right:
Lucia - Inês de Medeiros - in movies by João César Monteiro and Pedro Costa
Joyce - Bernadette Giraud - later in Secret Defense and Joan of Arc 1
Claude - Laurence Côte - in Up Down Fragile, Thieves and Godard’s Nouvelle Vague
Anna - Fejria Deliba - in an Olivier Assayas movie

And:
Cécile - Nathalie Richard - Up Down Fragile, 2 by Assayas, 2 by Haneke
“Thomas” - Benoît Régent - lead dude in “Blue”, died a month after “Red” opened
Constance - Bulle Ogier - of “Out 1″ and everything else

Thankfully, I have a downloaded copy of the movie from Raitre Italian TV, so I can get lots of screen shots.

The charactors (actors) and their relationships seem more important than plot/storyline, so I’ve made a page for the characters first, then a story summary page, separated into day one and day two, totalling my most complex journal entry to date!

I spent all this time on plot and character description, not necessarily because the story elements are so important, but because I may not get to see this again and I want to be able to remember it.

But what of the movie, overall? Worth the trip to New York to see it, for sure. A total experience of a film, from the dedicated audience to the live subtitles to the 16mm presentation to the museum theater that hosted it to the sheer length and intermissions to the Jean-Michel Frodon (Cahiers du Cinema editor) introduction to the content, with its very long wide shots and very gradually developing story… many scenes that only form a complete big-picure scenario if you’re paying close attention for most of its runtime.

Dennis Lim of the NY Times called it “the cinephile’s holy grail” and says: “In the annals of monumental cinema there are few objects more sacred than Mr. Rivette’s 12 1/2-hour OUT 1. Shot in the spring of 1970, this fabled colossus owes its stature not just to its immodest duration but also to its rarity. Commissioned and then rejected by French television, the film had its premiere on Sept. 9 and 10, 1971, at the Maison de la Culture in Le Havre before receding into obscurity . . . has become a true phantom film whose reputation rests on its unattainability . . . Mr. Rivette worked without a script, relying instead on a diagram that mapped the junctures at which members of his large ensemble cast would intersect. The actors came up with their dialogue; the only thing Mr. Rivette actually wrote were the enigmatic notes Mr. Léaud’s character receives . . . With OUT 1 he found the perfect match of form and content, an outsize canvas for a narrative too vast to apprehend. In a 1973 interview Mr. Rivette described the film’s creep from quasi-documentary to drama in ominous terms: the fiction ’swallows everything up and finally auto-destructs’”.

Having thought about the movie heavily for a week I’m gonna have to say I loved it. Not just a legendary museum curiosity that people pretend to like to impress other cinephiles, but actually a super amazing film worthy of its reputation. Of course, mostly its reputation is that of an unattainable film (we were told this was the eight-ever public screening), not of a great masterwork… but I guess it’s worthy of both of those. I’m sure I’d see it again, if not anytime soon.

The experimental theater exercises get very long, even too long, but not tedious. If a scene last “too long” in a regular movie, maybe you could’ve trimmed two minutes to make it feel right. But the theater scenes aren’t necessary at all, from a story point of view, so there’s no telling how long they need to be. When it hits me that I’ve been watching the same theater scene for twenty minutes, it’s not annoyance but awe that hits me. It’s hard to say what exactly is necessary in this movie… once you start cutting or shortening scenes, tying up loose ends and clarifying character connections and histories, you’re talking about a different movie (and not SPECTRE, but a different movie entirely). Best leave it the unwieldy beast it is, and appreciate it as that.

Dennis Lim’s article is a good one… here’s more:
“Out 1″ now seems a relic of a bohemian heyday, a time when you could spend your days rehearsing ancient Greek plays or making 12-hour films. But even in 1970 that hazy idyll was already fading. The film takes its shape, as Mr. Rosenbaum has noted, from “the successive building and shattering of utopian dreams.” An epic meditation on the relationship between the individual and the collective, “Out 1″ devotes its second half to fracture and dissolution. But it’s not a depressing film, perhaps because its implicit pessimism is refuted by its very existence. Experiential in the extreme, “Out 1″ cannot help transforming the solitary act of moviegoing into a communal one.

And Lim says that Rivette’s 2007 movie “Don’t Touch The Axe” will be revisiting Balzac’s .History of the Thirteen. “Does this represent a closing of the circle? An expansion of the master plan? If there’s one thing we know from Mr. Rivette’s films, it’s that the big picture will remain just outside our grasp.”

Reverse Shot says: “In Rivette there’s a sense, not just of watching or duration, both of which are passive ideas, but of actively being put through a process”.

Crawford in Reverse Shot: “Out 1 was made in the aftermath of the social uprising of May ’68, when a series of strikes by Parisian student unions devolved into a full-bore confrontation with the military. What once began as a hope to radically reinvent the mores of a stagnant and conservative society ended meekly, with the unions urging a peaceable return to work and De Gaulle’s party consolidating its power to a greater degree than ever. Out 1 taps into this post-May ’68 malaise, betraying an abiding mistrust in grand social movements, services organizations. Paris is turned into a disconnected amalgam of individual groups hermetically sealed off from one another.”

“Is it too simplistic to describe Colin as a spectator’s surrogate and leave it at that? What do we make of choice to pose as a deaf-mute and his return to that state at the end of the film? How, for that matter, do we take of the weird behavior of the male (Colin) and female (Frédérique) interlopers? Their logic and mode of behavior is vastly different from anyone else in the film; it’s like they’ve parachuted in from Céline and Julie Go Boating.”

Ah ha: Rivette’s interview from Film Comment… he says shots of Paris’s landmarks “were inserted…frankly as empty spaces. As a kind of visual silence….”

I’m glad Reverse Shot backed up my thought that “Marlon” isn’t the actual name of the character who beats Frederique in the bar, but the name she calls him cuz he looks like Brando in The Wild One.

After thinking about this movie for two weeks, I have to say that I love it completely. Rewatching the tiny half-assed hard-subtitled movie files to get screen shots of Thomas and Lili walking the Odabe beach bought tears to my eyes thinking about the film, the characters, the enormity of it all. I am so glad I went to see it. I hope for an eventual video release so everyone else can get the chance.