January 29, 2016
The film director Jacques Rivette, 2009. Photo: AFP
intellect and enchantment: French director Jacques Rivette, not only for the Nouvelle Vague set standards, has died at the age of 87 years.
Among the ambitious young critics of the most influential of all film magazines, the Parisian “Cahiers du Cinéma” , Jacques Rivette was the second, of a long feature film risked: After Chabrol, Francois Truffaut before, Jean-Luc Godard and Alain Resnais, he began with the shooting of 1958 “Paris belongs to us”. With borrowed equipment and during precious leisure performer she dragged more than two years. But when it finally came to the premiere in late 1961, had the feeling of life that expressed itself in more relevant than ever. The creative spirit of optimism in the student and theater milieu mingles with a sense of indeterminate fear and anxiety, as a Spanish activist in the environment of the young protagonist commits suicide. Critical acclaim, less loved by the general public as the lively confrontations with the genre cinema his friends Chabrol, Truffaut and Godard, the film set different standards.
The 33-year-old had his subjects already found, just his style he was able to refine his life forever. For forty years demanded Rivette his audience, and presented it at the same time. With experimental but nevertheless perfectly shaped narratives that often promised too much of a good thing by its very length, but when they were over, they had never enough of them.
recently appeared Rivette longest film on DVD, in 1971 listed only once 13-hour work “Out 1: Noli Me Tangere”. Juliet Berto and Jean-Pierre Léaud play in it freely according to Balzac a couple who in vain sought in an opaque history for answers. As in Rivette’s debut play important scenes at rehearsals. What’s been the specifically cinematic, one wonders perplexed when seemingly filmed theater such a blissful freedom from: At a time when the cinema was defined as an art form, Rivette, who long continued to write reviews, this debate is already well ahead of was the canvas dares?
And what is supposedly so essential for film art assembly option, if you can play settings for minutes? As if to prove the superiority of his dramaturgy of the surplus presented Rivette, a “summary” of 260 minutes ago -. Which made the long version all the more legendary
The same can be experienced when the long version perhaps his most popular film, the four-hour drive “La belle noiseuse”, “la belle noiseuse”, comparing it to the appointed by the rental two-hour version. Rivette shortened the film, and remained nevertheless true -. By creating a montage the short version of Second-takes the same scenes
“We have tried to make a film that does not speak about painting but her approach, “he said about his free adaptation of Balzac’s short story” The Unknown Masterpiece “. Certainly was the popular theme of the painter (Michel Piccoli) and his late inspiration from his model (Emanuelle Béart) under the eyes of the wife (Jane Birkin) to the success. But the real happiness developed – as in Rivette’s films theater – the observation of the creative act of creation. The cinema will find to itself, just because it looks the other arts in the cards.
From Balzac Rivette took over the lavish narrative excess, but also the analytical look at the social and political circumstances , Too much story could not be with him. Not more than an excess of illusion – her he put strict limits when a Brechtian distance demanded of his actors, which in turn allowed a look behind the limits of the game. The eternally underrated Liselotte Pulver has certainly played a more demanding role as a lesbian mother superior in the Diderot adaptation “The Nun” (“La Religieuse”, 1966) where it is part of the passion of a young, played by Anna Karina duress novice.
With the two-part epic “Joan the Maid” (1994) told Rivette once a female Passion beyond superficial dramatization. So he reached in his audience a sense of intimacy that made disappear the technical distance of the medium and recalled intimate play theater.
Rivette ventured repeatedly in his work, such as his fifth film ” Céline and Julie Go Boating “(” Céline et Julie “), to work without a script – a rare in cinema method. And surprised at the same time with a masterfully constructed story about appearance and reality: Two women competing for the favors of the same man who accidentally cause the death of his daughter. But they succeed with the help of a magical twist to make the very event. Or is it just a break with the expectations of the filmic illusion? For the critic David Thompson was the “most innovative film since Citizen Kane ‘- the first film, where everything is invented.”
But that was concerned with Rivette not just a single story , The movie itself, he invented a good deal far re -. And led this intellect and enchantment of the highest form together
The film artist who is said to have suffered from Alzheimer’s in recent years, died on Friday at the age of 87 years
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