Such a strange Rivette. A film with a clear charm that is undermined by a near-unbearable amount of self-indulgence. When, by the last twenty minutes, the smokescreen clears, you get a glimpse of Rivette's true powers, his true poetry, his playfulness. Overall, this remains as an oddity, an interesting but profoundly flawed piece of work.
The mystery, as well as unique to Rivette touch of madness are all present, however the plot isn't engaging enough. That hard to pinpoint element of brilliance is missing, it might be that the setting and story are more "down to earth" and as a result the film being not as poetic and dreamy as the majority of Rivette's work. Still, it is a unique, daring film worth watching, but expect slight disapoinment.
Precursor to ROAD TO NOWHERE, with Maria SCHNEIDER & Danièle GEGAUFF (Paul GEGAUFF ex wife, CHABROL's writer, stabbed by his 40 years younger girlfriend who took him at his word when he said "Kill me if you want but stop pissing me off"). J-F. STEVENIN Joe DALESSANDRO (WARHOL's toyboy) GAREL (father) & Mitterrand (nephew). In short, a cabinet of curiosities. == Long & abscon fourre-tout, Moulinsart cinématographique.
Mystery puzzled bilingual anglo-franco kind of movie. Even though quite amusing during the first 90 minutes, the plot gets over puzzled and goes way too long for its own good. Still worth watching for the cello and bass clarinet duet music transition which collaborates enormously with the story engaging and thriller feeling through out the movie.
Oh, just another impossibly cool Rivette masterpiece. This is his best straight-out terminal sleuthing movie. Some seriously hip Borges delirium. Incredible calculation in making cinema seem to "just happen" like this. Barre Phillips on bass! (He's a hero of mine.) And the other interstice: Spy vs. Spy - Hermine Karagheuz developed a moving-around-in-the-frame body of work w/ Rivette that rivals Chaplin's. Sublime.