Could the plot be condensed into just a fraction of the length? I suppose. But the film's insistence on showing everything, be it mundane conversations or theatre rehearsals, is what makes it so damn awesome. These 197 minutes may be mere setup, but it gets you in the wavelength of what is to follow - as well as being funny and interesting.
The cast is pretty much the highlight of the French New Wave, and the Parisian setting only adds to the appeal. Out 1 is an interesting and unique experience, however I have to admit that after watching the episodes 1&2 I'm not entirely sure about the meaning behind what I saw on the screen... It's quite a demanding film to watch. Absolutely worth giving it a try, especially if you love the 60 and 70s.
Blimey. I'm reserving overall judgement until I've seen the rest of it. On the basis of this, I'm amazed that there haven't been more accidental deaths due to experimental theatre, though. And I did spot Alan Turner from Emmerdale in a blink-and-you'll-miss-it cafe cameo.
Le théâtre expérimental c'est pas mon truc, surtout quand ça vire à l'hystérie, alors j'ai sauté tous ces bouts-là ce qui a grandement raccourci le visionnement. Au final, c'est le côté cool de Rivette qui ressort: il y a un naturel nonchalant dans ses prises de vue, ce qui en fait une icône de la Nouvelle Vague, je crois. Et puis, ce type de rapports humains n'existe plus vraiment, ni ce Paris-là d'ailleurs.
I saw a crappy print of this off an Italian TV rip with subs on subs. I don't think I'd enjoy it any more on mubi. Couldn't make it any further than part 2, but I still think about these theater weirdos from time to time with their odd exercises and pointless conversations; Jean-Pierre Leaud here just annoyed me, his heckling people for cash got old real fast. I did like the openings with the black and white stills.
Post-modern masterpiece of multiplicity; drifting from documentary to fiction and fictional documents, actors playing actors rehearsing performances, debts to classical culture, and uninhibited commitment to lengthy duration. Paradoxically these qualities degrade my desire to invest in this complete passion of somebody else, but perhaps this is how the film succeeds; by failing - not touching what cannot be touched.
I am hungry, I am thirsty, there are still 10 hours of it. Tell the family*I loved them if I don't make it. Might revise the rating if the later chapters make the first two chapters useful. Right now, I do not see what Rivette is on about. Good views of Paris in places that have changed a lot. (* the one I don't have because I am daft enough to spend 13 hours idle in front of idle people rehearsing expressive art.)
Well, it's certainly a puzzle but it does make you think and I suspect that was Jacques Rivette's aim. The rehearsal scenes did seem a bit pointless though. One of the highlights for me was the scene where the delectable Juliette Berto counts backwards in French. If that seems to be a strange thing to say, this is a very strange movie ... but I will plough on with Episode 3.
A few minutes before the third hour, I realized there was a fork on my night table, and I couldn't help wondering if stabbing my arm with it would be more or less painful than watching another dynamic of the Prometheus troupe. However, I heard such good things about this series that I can't just quit now. I hope the second one has more of the deaf-mute guy and less of the theatre groups.
And so, 2 hours in, we get what screenwriters call the "inciting incident", right when those same screenwriters would end their film entirely. This is demanding stuff (part 1 is the hardest episode), but few films can so radically change your wavelength, as little revelations and cliffhangers pop in out of nowhere. The 13 hours are a mountain to summit with many wonders along the way—and the greatest saved for last.