Saturday, January 30, 2016

Death of Jacques Rivette, the mysterious band – The World

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Jacques Rivette in Cannes in 2001.

Young-Turkish band he formed the four when they had 20 years with Jean-Luc Godard, François Truffaut and Claude Chabrol, it was by far the most secret. Jacques Rivette died Friday, January 29, at the age of 87, and the mystery that prevails in his grave is as wide as the one that continues to nimber his filmography. Thirty movies in total, made in half a century, from 1949 to 2009, between which run underground walkways, echoes of encrypted systems, which together constitute a great treasure hunt and a fertile breeding ground poetic.

Review the Cahiers du cinema from 1952, editor of the magazine from 1963 to 1965 Jacques Rivette also leaves great critical texts and, more broadly, a legacy that remains critical in apprehension of cinematic modernity

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From the very experimental Out 1 , improvised variation on The Story of Thirteen Balzac in eight episodes (12 h 40 in total!), the classicism of The Beautiful Troublemaker , the count of Suzanne Simonin, Religious Diderot to psychedelic pop Celine and Julie Go Boating , his work has had the most extravagant molts. His unit, real yet manifested on the surface by a loyalty to his actresses – Bulle Ogier, Juliet Berto, Jane Birkin, Geraldine Chaplin, Sandrine Bonnaire, Emmanuelle Béart, Jeanne Balibar … – and its writers – Jean Gruault, Suzanne Schiffman Pascal Bonitzer, Christine Laurent …

To be more hidden, she holds an ethic of staging. By observing its players more than the leader, leaving spinning scenes without cutting, avoiding close-ups – by refusing, in short, break up the space, time, bodies -, Jacques Rivette preserved the mystery of world and beings filming. The result of long films, sometimes very long, cyclic intrigues, he loved to cram coded messages, manipulation of all kinds, sometimes double trigger, conspiracies, often irrelevant, but could “ generate a reality “. This dialectic between true and false is also reflected in the report to the theater, which occupies a very important place in his cinema

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The New Wave

The spearhead of the New Wave, Jacques Rivette gave the kickoff in 1956 when his short -métrage The shepherd Coup , shot in 35 mm in the flat of Claude Chabrol, was released in theaters. Throughout the half century that followed, the filmmaker remained faithful to the spirit of freedom that characterized this movement, which resulted in him by a relentless pursuit of deregulation. Especially its filming, he exuded a form of disorder, discomfort, pushing his actors to improvise, inviting all employees to join the dance, hoping to cause the accident, operate the magic of chance.

Born in Rouen, 1 st in March 1928, Jacques Rivette out of adolescence when Europe comes out of the war and the horror of the camps became public. His relationship to the world, and cinema, and will forge under the sign of the loss of innocence, as evidenced by his most famous text, From abjection (published in 1961 Les Cahiers du cinema ) where he outlines an ethic of the modern artist, whose look was forever altered by the horror (and in which the question of the representation camp is obviously the critical point)

On a deliberately polemical tone, which contributed to its impact t. – the text continues even today ignite moviegoers debates – Rivette attacks the traveling operated by Gillo Pontecorvo in Kapo, at the time of the suicide of the remote interpreter Emmanuelle Riva: “The man who decides at that moment to do a tracking shot to reframe the dead body in cons-diving , taking care to include exactly the hand raised in a corner of the final framing, this man has rights that deep contempt. “ Continuing the reflection on the staging initiated by Luc Moullet (” morality is traveling affair ‘) and Jean-Luc Godard (“ tracking shots are a matter of morality “), he opposes the ” abjection “ and disqualified the correctness of the author’s point of view, which is also a relationship to the world.

With Truffaut, Chabrol and Godard, whom he met at the Cinémathèque on his arrival in Paris in 1949 and with whom he founded The film Gazette , Rivette laying the foundations of policy authors, and “hitchkoco-hawksisme” – doctrine that aimed to establish equal status between, on one side, Hitchcock and Hawks, at a time when they were considered in the pay-makers studios, Balzac and the other.

Financing Difficulty

Unlike his peers, he has already directed a short film, In around in Rouen in 1949. Between 1950 and 1954, he turns two, works as assistant on Jean Renoir Cancan , the light operates on short films Truffaut and Rohmer who embarked meantime. After The shepherd Coup , he began work on his first feature film, Paris belongs to us that long struggle to get funding. This difficulty, which will stick to the skin throughout his career, push him to invent devices to express more with less, explains Martine Marignac, producer of his last films. On Jeanne La Pucelle , “Jacques said he did not want to shoot battles but a battle of idea (…) (It) knows that is in an economic system outside the conventional system – which, anyway, is not interested” ( Jacques Rivette secret understood , by Helen Frappat, editing Cahiers du Cinema, 2001).

Like all movie titles Rivette, Paris belongs to us returns to a reference hidden, a sentence of Charles Peguy in this case, “ Paris belongs to no” . Paranoid survey designed, broke out between the paths of dozens of characters is constantly steals, this film puts in crisis the traditional relationship to the viewer. He, like Gilles Deleuze poses in Image The Time ( Editions de Minuit , 1994), no longer able to identify with these figures “floating” marginal that the characters are or finding their in a private Paris of his usual landmarks.

Putsch to “Cahiers du Cinema”

In Cahiers du cinema , the safety of its judgment, the rigor of his writing inspire respect. “I had the reputation of being the Saint-Just in time” , he concedes Serge Daney, in the documentary Jacques Rivette, the watcher, Claire Denis (performed as part of the series “Filmmakers of our time”). Desiring to switch the magazine in modernity, it runs from 1962 to Eric Rohmer, the editor, questioning his “fascination” (and that of any part of writing) for the beauty of classic American cinema, calling the contrary critics to place in a ratio of “understanding” .

Rivette, who wants to open the pages to European modernity and new cinema emerging in the world, and other artistic and intellectual disciplines, took power after a “coup”. It prints the magazine a theoretical shift that will structure it in depth, for a long time – and that symbolizes a series of interviews with executives of the cinema as Roland Barthes, Claude Levi-Strauss and Pierre Boulez

<. p> The episode, however, is brief. In 1965, after a year and a half passed to the chief editor of Cahiers du cinema , he returned to the stage for good and adapts The Nun Diderot ( he had already assembled at the theater two years earlier). Illuminated by the presence of Anna Karina, the film of a monastic austerity was not a rant but ran into censorship even before being completed. In prohibiting the operation, the government unleashed the passions of the world of cinema, Godard in mind, which address, in the pages of New Observer , vitriolée a letter to André Malraux, called for the occasion “Minister of Kultur” . After a legal battle, the film gets permission to be released in 1967, along with a ban on under 18, and instantly became the most successful of its author. Censorship is exercised in full in 1975.

At the end of this case, Rivette challenges the primacy of the scenario. Why actors would they not the engine of the film? Or music? And why not the decorations? The portrait of Jean Renoir, Jean Renoir, the boss , he realizes for the series “Filmmakers of our time”, adopting the method of Renoir, that is to say leaving things to come in the master’s speech occurrence, without imposing anything, allows him to experience what will become his trademark: an improv theater, dialogue between and with actors. These, now, will often credited as writers of his films.

experimental period with “L’Amour fou”

1968 Rivette immersed in a period experimental which only emerge at the turn of the 1980s with L’Amour fou , and more with Out 1 , it tries to unstructured stories improvised, gravitating around the rehearsals of a company of actors. By injecting into the fiction of-phase movements, unnatural action, drama blew realism. For Out 1: Noli me Tangere , the filmmaker was inspired by the method of Jean Rouch: actors who invent their own characters. In this incredibly romantic fresco – nearly 13 hours divided into eight episodes, which will be reduced to 4 h 15 in the “short” version, Out 1: Spectra (which can be considered his masterpiece work) – it frees the accepted limits of cinematic narrative to board the viewer in a fictional extraordinary experience in which he bet because it turned out

Then comes a sequence occult. that starts with Celine and Julie Go Boating , so Alice in Wonderland on acid when, every time they swallow a little sweet, Juliet Berto and Dominique Labourier land in a bizarre parallel world populated by ghostly characters greenish complexion, with whom they relive the same scene from different angles. By doing so the living and coexist spectra, as it will coexist in Dual , the next movie, the moon and the sun, Rivette depicts the duality and ambivalence of the world. First of a tetralogy entitled Les Filles du feu , which ultimately will have three films, Dual will be followed by Chillwind a history of vengeance in a world of pirates girls, and, three decades later, with The Story of Marie and Julien , a variation on Vertigo Hitchcock.

“The world as an idea”

With the end of the 1970s comes the end splurge. The bluish gray North Bridge , one of his finest films, a sign symbolically mourning. This spinning in a Paris wasteland (wasteland under construction near the Ourcq canal) that brings Bulle Ogier, his daughter Pascale Ogier (died a few short years later) and Pierre Clementi, the black angel of the underground of the 1970s, signals the start of a new project in which, without giving up experiment, the filmmaker will embrace more traditional forms.

The theater remains present ( Love ground , The Gang of Four , Who Knows! ). But the great shape of this glorious period, and the greatest films that comprise it – Jeanne la Pucelle I and II, Up, Down, Fragile , Secret Défense , Who knows, Do not Touch the Axe – will be the women’s learning novel form with which Rivette, from Suzanne Simonin, Religious Diderot , most willingly spoke of him.

There were also la belle noiseuse , mutual magnetization story of a painter and his model in which he explored metaphorically, but just as a sculptor’s clay material, the relationship between the filmmaker and his actress. For, as he wrote in Les Cahiers du cinema ( Verdoux Review , August 1963) “What is the purpose of cinema? The real world, as offered on the screen, either as an idea in the world. We must see the world as an idea, you have to think like concrete. “


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