Jacques Rivette

Would someone who knows mind posting a link to the Claire Denis documentary? Somehow I can't find it. Thanks...

My copy of the Arrow box set was delivered on the day he died. RIP.

"... it isnt exactly riveting to watch..."

I see what you did there.

http://s.hswstatic.com/gif/rosie-riveter-1.jpg

sure. hopefully you will have dismounted that rather tall horse of willful offence-taking of yours by then too.

― StillAdvance, Tuesday, 2 February 2016 Bookmark Flag Post Permalink

Don't have such a high opinion of yourself - you haven't offended anyone.

i think i will watch 'the nun' this weekend. any thoughts on this one? conventional wisdom seems to suggest it's one of his more conventional.

i am not proud of the fact that i am totally allergic to celine and julie go boating. i saw it for the first time about 15 years ago, and was just bored. i tried it one more time about 8 years ago, and had to walk out after 40 minutes. the relentless tweeness made me want to rip the heads off of kittens or something. and also i just don't think he was much of a visual stylist at that point! i think he got better -- much of "Secret defense" is extremely evocative.

i say "i am not proud" b/c people whose opinions i respect a great deal think it's the bee knees, but i just don't get it.

i am proud. they are wrong.

we're unusually simpatico this evening, morbs.

As someone who is allergic to tweeness I felt the stretching of time deployed by Rivette cut that right off.

http://www.bfi.org.uk/news-opinion/sight-sound-magazine/interviews/jacques-rivette-out-1-celine-julie-go-boating?utm_content=bufferfc600&utm_medium=social&utm_source=twitterbfi&utm_campaign=buffer

Excellent interview from the S&S archives - lots of tibbits on Bioy (who is of course had a couple of tasty reissues recently). Finds Henry James "unfilmmable".

Imagine reading this in '74 and not being able to see Out 1. Would've made me crazy.

Thank you, love the way Rivette talks about films (his own and other people's)

"Contrary to what people think, I’m not particularly well read."

Checking his filmog I've seen less than I thought I had. Le Pont du Nord is something I want to see as soon-ish as poss. Got a hunch about that one.

do you subscribe to Mubi xyzzzz__because this is on there at the moment. I started watching it yesterday.

I listened to Rosenbaum talking about Out 1 on The Cinephiliacs podcast about a week before Rivette's passing. I'd love to see it sometime.

I don't - was told on twitter last night about the availability of the film on MUBI, where I also found out that the accordion based tune mentioned by Ward is actually a Grace Jones cover.

I'll see whether I can do this or not. Most of the year I tend to watch films at the cinema - mind really wanders off nowdays if I am not inside the dark box.

I noticed the Denis documentary has been taken down from YT. Good thing I saved a copy. It's a great one.

(link in my post, y'all)

i'm sleep deprived as usual on Fridays so there's no way i'm going to make it to Love on the Ground in 3 hours (Rivette make me sleepy to begin with and that's not necessarily a dis).

Morbs, there is a Region 2 DVD of Love on the Ground - however I would prioritise the same company's Gang of Four DVD above it:

http://www.amazon.co.uk/Love-Ground-English-subtitles-DVD/dp/B000TQLJU0/ref=sr_1_1?s=dvd&ie=UTF8&qid=1454717246&sr=1-1&keywords=love+on+the+ground

But if you really want to sample Rivette on home video DVD, there is a Region 1 disc of Va Savoir that might appeal - it's his most Rohmeresque film, except with many of the old obsessions, chiefly the theatre.

i think i will watch 'the nun' this weekend. any thoughts on this one? conventional wisdom seems to suggest it's one of his more conventional.

Saw it once about fifteen years ago. Yes, it has the most conventional mise en scene of any Rivette film, and no obvious moments of improvisation - this might sound more appealing to Rivette-sceptics, but my memory of is that it's a bit of a slog; far inferior to the Joan of Arc movies in terms of a 'period Rivette'.

saw Va Savoir when it was released

Cheers for the Denis, Jay Vee

Atlanta people, Emory Univ. is screening Out 1 for free this weekend.
http://filmstudies.emory.edu/home/events/

Went up to the cemetery in Montmartre this morning to pay respects to Rivette and Truffaut. They are buried pretty much a few feet from each other. Sadly, Rivette's tombstone is a humble concrete slab ( I hope it's a temporary thing?) and Truffaut's is dotted with pigeon shit.
I mentioned to the folks at the conservation office there that Truffaut's stone could use a good cleaning and their response was that it was the family's job to ake care of it.

*take

Out 1 is on netflix wtf

!!!

insane, i never thought the day would come, so stoked

Great to see -- death to 'I hate how everything has become available' bobbins!

I am just stunned tbh bcz Netflix's film offerings have not too great as of late, esp w/r/t obscure foreign cinema

Dare I ask if it's on uk netflix?

Pretty sure it's not. Arrow are the UK rights holders, and they do sometimes licence things to Netflix, but I imagine at the moment they don't want to discourage sales on their recent Rivette box set (you can rent that box set, btw, from Amazon Love Film, or whatever their films-by-post service is called these days - that offers a much better selection of movies than any UK streaming service, fwiw)

Shit, and to think US Netflix just clamped down on Hola usage

Funny Out 1 customer review for that Rivette box set on Amazon:

Unwatchable docu-drama of a small group of actors lying down with their legs bent back toward themselves. Awful beyond belief.

Hahaha! Concise and to the point!

Halfway through Out 1. I'm very happy.

I've seen Out 1! I'm a happy filmfan. Nice ending.

I watched Godard's Le Vent d'Est a few days back, and it's kinda fun to contrast. Much post may ennui, but while Dziga Vertov group seems a bit desperate, Out 1 seems thoughtful, meditative and experimental. And fun.

Doesn't scan as a comparison.

Reading up a bit on the context. At this point I'm pretty sure it's to a significant extent a film about Maoism.

Maoism is def ONE of the things Out 1 is about - or rather, it's about the conflict between the individual and the collective (and the difficulty of maintaining identity within a group, be that a theatrical troupe or a secret society). It's definitely a post-68 film in the same way that The Mother and the Whore is, too. But you could just as easily say that Out 1 is a Marxist film, in that it's haunted by Balzac, who was Marx's favourite author ("Behind every great fortune is a great crime" etc etc)

And another way of saying 'thoughtful, meditative' might be to say 'wasted', whereas Godard's post-68 work is very definitely much more straight-edge (there's a scene in Out 1, at the hippy café/meeting, where Bulle Ogier collapses into fits of giggles, as if the tea she's serving has been spiked. And I remember reading somewhere that the premiere audience for Out 1 were very majorly stoned.)

Well worth watching Out 1: Spectre, Frederik, for a very different ending, and a change of emphasis on certain scenes and characters.

It's more Leaud who is giggling, and feeding Ogier spoonfuls of jam. He's is definitely high as a kite in that scene :)

The film is not about one thing, of course, it's just fun to treat it as a coded statement the way Colin treats Balzac. It is very true that it's about Marx, but being about Marx in France in 70-71 was being about Mao. Even Cahiers was maoist at the time. Le Vent d'Est seems to me a maoist film, whereas Out 1 is a film about maoism. It's so weird to think about that time, that there actually was a period where Mao was thought to be the best, and that that period coincides quite well with the period Mao was most destructive and murderous. Intellectuals can be quite dumb.

There's a previously unpublished '71 interview with Rivette in French film mag "La Septième Obsession" this month. Here's a relevant quote to what you guys are discussing (excuse my bad off-the-cuff translation):

Q: What exactly do the two groups in OUT1 represent?

Rivette: (...)The two groups come out of the traditional (spaces?) of classical theatre - both the Italian and modern ... At the time they were being filmed they were searching for a process outside of the strictures of traditional theatre. It's a process of waiting in any case since the film attempted to describe a period of general crisis, at all levels, notably within the theatrical sphere. The characters all have that feeling of existing within a time of crisis where one could do nothing but wait for a time when, eventually, action would once again be possible. While waiting all they could engage in , for one, were projects that were more or less utopian, through uncertain paths and, on the other hand, trying to maintain a false enthusiasm, a false energy. It's very difficult and the result was a kind of erosion. The film shows this eroding as they wait it out. ... To me it's a very dated film: France - Paris - 1970 - two years after May '68. That's where we are. We wait.

it IS dated but in a good way. the process/waiting was my fave element of out 1. just watched the rules of the game last night for the hell of it. totally not dated at all.

also i still haven't watched the thing rivette did that is on the crit rules dvd.

Still don't see this is as a film about Maoism - it certainly doesn't get away from the
time it was made at, the paranoia induced by the characters and their actions situates
this film as being made at a politically tense point. So post-68, but you can map a lot of
things onto it that Rivette would go on to do at other points in his career where things are more 'settled': his interest
in theatre (the whole birth of a play, the stresses and trials around that, its effect on the participants) and creation
of art. Balzac is a big literary reference in later films.

JLG in the Vertov stuff mostly gives it to you straight, but even in La Chinoise and a lot
of his films he was Maoist in a playful manner - Mao's little book is Red, lets saturate
the film in Red!

(xxpost) I think my translation s/b "it's a film that's very of its time" rather than "dated".

Rivette never mentions Maoism wrt to this film. I haven't seen it come up in any interviews with him or the cast.

There's a huge (500+ pages?) book on just Rivette and Balzac out now in France. i picked up this one on my recent visit. Can't wait to dive in: https://www.amazon.fr/Jacques-Rivette-secret-compris-Frappat/dp/2866422813

It was only after reading Emily Bickerton's excellent history of Cahiers - Rivette-relevant extract here: http://www.versobooks.com/blogs/2469-jacques-rivette-1928-2016 - that I learned Rivette essentially deposed Rohmer from the Cahiers editorship, in part because Rivette was far more of a leftist than Rohmer. So I'm sure Maoism was at least on Rivette's mind at the time he and his collaborators made Out 1 - how could it not be?

there is definitely a similar film to be made of u.s. artists/activists wanting to burn down the world in 1968 and a couple of years later...not so much. or not knowing how to proceed after the immediacy of the flames/fire. or maybe that is a film already. the bored talk of putting out the newspaper in out 1 was funny. no real hurry.

Yeah, the Cahiers had in turn been taken over by Maoists by 70, so.

Also, of course he doesn't mention it, the true, maoist meaning of the film is only available for the TRUE VIEWERS who can read the TRUE LANGUAGE of the film. Wake up sheeple!

I mean, we could say that it's a film about France 'post-68' but I'm getting kinda tired of that term. It makes it sound as if nothing really happened at that time, in the period ca 68-72 (a period I'm calling 'the years between Red May and Black September.' It sounds better in Danish), as if the revolt failed, and then people sat around a few years and thought about what they wanted to do now. Like Assayas' film Apres Mai, where the whole thing is sort of a blur, and then the hero discovers cheesy filmmaking. But stuff did happen in those years, people were still very much politically engaged. And most of left-wing politics at the time, anti-imperialist, guevarist, nasserist, bound to be disappointed by Mao meeting Nixon; Chile and Argentina collapsing into right-wing autocracy; Mid-east terrorists attacking Munich, regimes attacking Israel on Yom Kippur and then attacking the entire west through rising oil prices; can sorta be grouped together under the term 'maoism'.

So perhaps the film can both be said to be about 'post-68' or about 'maoism'. I think it most productive to say 'maoism'.

Thanks for the link Ward. Rivette was certainly more outwardly political than what I've ever seen in his films - the stuff he was doing during that period is set in Paris, among a small group of young actors and he has them playing games with each other - a very insular paranoid world miles away from Cinema Novo and what was happening in South America and Africa.

Whatever the merits of JLG's Vertov, at least he made an attempt at 'end of cinema': he states that and takes the idea further, sketches it out. The Left Bank were actively engaging with Cuba, Algeria, Chile and Palestine in their actual films.

Can't see any of that in Rivette.