As Jacques Rivette was 70, which has been in 1998, he still gave the impression of an infinitely young man. Observers wanted it then rather seem that this birthday clarified what he now even counted in years, than that you had wanted to be trusted, this director from then on the old guard ‘attributable: With his ascetic appearance, often with an exceptional smile contrasted, he still seemed almost boyish.
Compared with his other colleagues from the days of the Nouvelle Vague, all of which have gained in their own way a certain dignity, he has remained the Wagnisfreudigste. Until his death on Friday in Paris. French President Francois Hollande praised him as one of cinema’s greatest artists who have influenced several generations.
Rivette’s first film was in Chabrol’s apartment turned
Jacques Rivette, who was born on March 1, 1928 in Rouen, came in 1949 in the French capital. He soon learned Éric Rohmer, Jean-Luc Godard, François Truffaut and Claude Chabrol know. From 1953 he was a regular contributor of “Cahiers du Cinéma”, and in 1956 created Rivette first short film: “Le Coup du Berger”. Main location: the apartment of Chabrol, assistant director was Jean-Marie Straub, as a camera assistant acted François Truffaut. As players were among others Jean-Claude Brialy, Jean-Luc Godard and Claude Chabrol to see.
This was how Truffaut would say later, the first Nouvelle Vague film which first saw the light of a canvas. 1958 turned Rivette then his first feature film, “Paris Nous appartient”, which was, however, completed until 1960th Herein already seem many of the issues on to the should revolve his later films again and again: the city, the theater and especially conspiracies or plots
Rivette’s films have a documentary character and at the same time a magic power, therein lies their secret. They are designs of parallel worlds with hallucinatory effect. His characters, often reminiscent of vampires Divas or clowns can be a in a game whose rules they do not know; you are looking for the Ariadne’s thread in a labyrinth from which there is no exit
From 1963-1965 Jacques Rivette was chief editor of the “Cahiers du Cinéma”. his second in 1966 turned feature film, “The Nun” (by Denis Diderot), sparked a protracted scandal; 1967 was followed by extensive experiment “L’Amour Fou”, where the boundaries between theater and life, between game, reality and fiction into one another flowed into a somnambulistic Crescendo, and 1971 finally Rivette dares to one of the wildest, most enigmatic and beautiful projects in film history ever “One Out”. Length: 13 hours. The film finally comes in a four-hour abridged version in the cinema and for the first time in 1991 fully shown during the Berlin Film Festival.
Rivette’s films alternate between confusion and clarity
The impressions that you win in this, as in all some 30 Rivette films of 50 years, are completely opposite nature: confusion and clarity, similar to the paintings of de Chirico or Magritte. Rivette himself said: “I aspire to that the audience steals the impression of a permanent punctuated equilibrium, as if he is sitting on a pyramid of chairs that could collapse at any moment.”
Although his 1972 Rotated film “Celine and Julie Go Boating” to an equally humorous and magical conductor film of the seventies is, this decade is extremely difficult for Rivette. He plans a tetralogy entitled “Scenes from the parallel lives” of the only two parts can be completed: “The immortal duel” and “Northwest Wind” (both 1976), but has the filming of the other parts because of total nervous Cancel exhaustion.
Since 1981, Rivette remade regular movies, all two and a half years a new work, including such milestones as the two-part film adaptation of Joan of Arc “Joan the Maid” with Sandrine Bonnaire, “la belle noiseuse” with Michel Piccoli and Emmanuelle Béart and “top secret”, in turn, with Sandrine Bonnaire, and “Va Savoir”, a theater history with today’s popular platforms diva Jeanne Balibar. In 2007 he was even invited to “Ne Touchez Pas La Hache” (“The Duchess of Langeais”) to cover the festival. The circus history “36 Views of the Pic Saint-Loup” in 2009 was his last film.
Often Rivette is in his films from certain actors, mostly there were actresses assumed. Physical presence, physical game, voice and body were to him the most important thing. So he answered even in 1981, when the newspaper “Libération” her famous worldwide survey “Why did you shoot?” made under directors: “What I first comes to mind, that I am often (before, during and after each turn) have asked: how to film, with whom, for whom – but the why of the matter has remained abundant unclear to me, !? then it should remain so As for me, the real question is: with whom “
Rivette wanted to return to the” miracle of the early film “
And something else has his cinema still in what might be described with the word evidence – nothing you could handle with the terms realism or plausibility: It seems that Rivette films has made in order to grope as close to “the miracle of the early film” (Jacques Rivette) again. In “Le Monde” was in 1991, the year because it the Grand Prix of the Jury was awarded to “la belle noiseuse” in Cannes to read: “In a film by Jacques Rivette one enters, as seen in Murnau, Nosferatu ‘ Cross the bridge, arrived on the other side, one encounters ghosts, his own dizziness and is confronted with very subtle play “
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