Bonus marks for the line, “Homosexual spleen in the barn, disguised as Alsatians”.
Rivette assimilating Resnais' influence into his personal aesthetic. A humourous Marienbad with a scent of Daisies. Wonderful to see how the concept of recurring segments of the same long phrase worked perfectly in two radically different environments.
Through the Looking Glass by Rivette, indeed. Practically Nouvelle Vague in its frolic, colour and folly, with its beguilingly coy duo dynamic; Rivette returning from the bookish leviathans of L’amour fou and Out 1 with a work more outwardly playful on the whole, while still not wholly dissimilar in style, in its elongated theatrics and extended play, here in and amongst its induction of its multiplicitous realities. The New Wave’s precursor to Mulholland Drive, then Inland Empire; repeat viewings required.
When Céline scurries past like the White Rabbit from Alice In Wonderland, Julie follows only to become involved in a complex excursion into memory and illusion.. Inspired equally by Lewis Carroll and Henry James, what we have here is nothing less than an innovative examination of the nature of film watching itself. Highly improvised and experimental in structure, Rivette's difficult-to-describe film is exhilarating..
http://www.dvdbeaver.com/rivette/OK/subversivefantasy.html Fantastic reading. The same site has some critique of earlier films as well.
Entertaining movie, but not as good as I was hoping. Feels like two separate movies slapped together; I didn't think the story-within-the-story was nearly as entertaining as the girls themselves.
This has become one of my favourite films, unbelievable fun. I will put it in the same category as Pierrot le fou, both are so much fucking fun ! Looking forward to seeing more films by Rivette.
Ending reminded me of Queneau's The Blue Flowers. Finished with a literary metaphor as two narratives pass each other by, with a return to the beginning.
Who would guess that 3-hour-plus experimental film could be so consistently fun? Berto and Labourier worked with Rivette to create their characters, and they are simply a joy to be with. Around the time Julie ruins Celine's magic act I found myself falling in love. But don't be fooled into thinking it's all just a lark. Rivette has devised a very precise filmic architecture based on doublings and intracommenting.
Starts off as a fun romp around 1970s Paris, descends into rehashing a terrible melodrama-within-a-film, and ends with one of the most thought-provking finales in recent memory. I need to see it again to fully get it.
Julie and Celine skating down a Parisian street both dressed in their best Irma Vep outfits--one of my favourite movie moments.
A 45 minute film in a three and a quarter hour package. They seem to have had some fun making it, much more than I had while sitting through it.
A key text of 1970s cinema -- and, more generally, of that strange and giddy suspended moment when dreams of counterculture began to go up in smoke but what would replace them remained far from clear -- C&J winningly, woozily dramatizes the efforts of two women to erase an obsolete, oppressive narrative. It doesn't hurt to fall off the moon. It may not help a great deal either, but time will tell, morning by morning.
A case where the parts are better than the sum. After watching the last 20 or so minutes, maybe its the other way round. In any case, it a wonderful representation of experimental cinema at its lightest, most playful, and fun. The characters are charming and easy to relate to on some level. The only flaw really s the length, though I am huge fan of Inland Empire. I will be checking out other works by Rivette.
Rivette's meaningful exploration into questions of character, performance and diegesis are only rewarded more significance by Berto and Labourier's delightful romps.
Magical and delightfully surreal. Juliet Berto and Dominique Labourier are wonderful. Criterion, please release this.
This is creativity at its very best. Jacques Rivette's highly imaginative movie, everything is pitch-perfect with it. It's like watching Bunuel's surrealism, Bergman's imagination, Fellini's charms and Lynch's illusions in one movie. This dreamy movie is must-watch for people who admire surrealistically creative cinema! Highly Recommended!
I'm sorry that I enjoyed a movie that you disliked. I guess websites like this not only give people a platform to express opinions, but also gives them a platform to excoriate those who disagree with them. I never quite understood that reaction. If I love or hate a film, I am not personally affected by someone having the opposite reaction. In fact, I am kind of fascinated by that and want to understand the reaction. That kind of dialogue can't happen in an atmosphere like this, I guess. Oh, well. A lost oppurtunity.