There is always a coldness (a byproduct of precision?) that accompanies Rivette's stagy staging of novels. And he is usually dealing in hotblooded content. The idea of a pristine surface covering a tumultuous seething chaos speaks to me, and Rivette does it very well. (Imagine Andrzej Żuławski's version of Wuthering Heights, w/ people throwing one another off walls etc.) Unfortunately Fabienne Babe is pretty awful.
It's obvious that Rivette has absolute control and conscience over everything in this film: but for me most of it is wrong. A story so full of passion, romanticism and supernatural ressonance cannot be treated with such realistic and inexpressive forms. Rivette reduces everything to the clash and movement of bodies within the frame, but most times a close-up would contain all the passion required. A matter of choice.
Rivette captures Emily Bronte's demented nursery of wise servants and foolish masters perfectly, because it turns out that her characters were really Rivette people all along: private, sad, feeling like they're going crazy, feeling set up and unready for life, behaving badly now and then but only to feel free, and always paying for it. This is a masterpiece.
Quel jeu et quelle direction d'acteurs ... comme Kazan ... les personnages se cherchent et s'affrontent dans un huis clos particulièrement dur ... et quelque peu trop théatral en 2ème partie. Great acting and direction of actors ... as with Kazan characters seek and compete in a particularly hard way behind closed doors ... and somewhat too theatrical in part 2.
Though beautifully shot, this adaptation just doesn't work for me. Though Fabienne Babe is fascinating to look at as Catherine, it is Sandra Montaigu as Helene who gives the masterful performance (as well as playing the only likable character).
"inquadrature esemplari e una gestualità quasi teatrale" sono la parte migliore del film assieme al coro di voci bulgare nelle (rare) musiche; questa trasposizione non mi ha soddisfatto, troppo cerebrale.