Of course corralling collaborators to riff on Balzac was one of Rivette's most productive pastimes, but it should practically go without saying that in the case of LA BELLE NOISEUSE, jumping off as said film does from the magnificent "The Unknown Masterpiece," it led to the creation of one of the greatest works of art of the twentieth century. It is about a set of relational parameters that touch on everything.
Most of the 4+ hr films I've seen are about time or duration, w/ the length being either purposefully immersive, or formalistic. This was different. First, it didn't feel like a 4-hr film, at all. As in the atelier, time seemed to just not apply. Left me with thoughts of our deep, sometimes dangerous, need to be mirrored or, alternatively, activated; to experience oneself otherwise. In between, we're broken dolls.
La Belle Noiseuse - spaţiul atemporal în care cinematografia face dragoste cu pictura; un portret (într-o continuă locomoţie) al artei. “E cu putinţă oare să captezi o viaţă întreagă pe o pânză de pictură? Aşa, cu doar câteva urme de vopsea? Pare ireal, de neconceput, şi totuşi numai la acest lucru visa.”
Our Daily Free Stream: Jacques Rivette - La Belle Noiseuse. Frenhofer, der grosse Künstler, hat seit zehn Jahren nichts mehr gemalt. Er warf alles hin während der Arbeit an seinem Meisterwerk, das er La Belle Noiseuse nennen wollte... mehr auf cinegeek.de http://www.cinegeek.de/la-belle-noiseuse-1991-rating-93-dvd4770
Balzac's book was so much touching compared the film. We feel the need of passion and love to make art. Long scenes shaping the art is also so interesting. We get close to the process of making art but on the other hand, the main idea in the book, which was the obsession of Opus Magnum and obsession of reaching to perfection and the great failure in doing so is totally missed.
Aşk ve sanat hem birbirine tahammülü olmayan hem de birbiri olmadan olamayan saplantılı bir çift gibi sanki. Yaratım süresince sanatçının sancılarını ve yarattığı esere karşı verdiği savaşı başarılı bir oyunculukla ortaya koymuş Michel Piccoli. İlk kez sinemada izlediğim Jane Birkin ise çok çok iyi.
The drawing and painting sequences are nice. And, most of all, the way Emmanuelle Béart's body is filmed is gorgeous. The long sequences in which we don't see her body, just the painter's look or his pen and ink scratching gesture and sound are wonderful. In the absence of the human figure, our imagination completes the missing image. Most* of the rest, the concepts about art, the tormented artist, is quite absurd.
This film was a touchstone in my youth, specially because of the way it confronts any given idea of cinematographic resourcefulness to bring to the core of the film the idea of cinematographic language as a pause. Even if the film is read as an overdose, the final outcome if filled with beauty and deep communication. A film of a quiet, struggling beauty.