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Author Topic: Jacques Rivette (1928 - 2016)  (Read 1364 times)
noodles_leone
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« on: January 29, 2016, 11:25:21 AM »

http://www.nytimes.com/2016/01/30/movies/jacques-rivette-french-director-dies.html

I haven't seen much of his work. I suppose he did some important stuff at the time. He was a scumbag:


Quote
Titanic (James Cameron, 1997)

I agree completely with what Jean-Luc said in this week’s Elle: it’s garbage. Cameron isn’t evil, he’s not an asshole like Spielberg. He wants to be the new De Mille. Unfortunately, he can’t direct his way out of a paper bag. On top of which the actress is awful, unwatchable, the most slovenly girl to appear on the screen in a long, long time. That’s why it’s been such a success with young girls, especially inhibited, slightly plump American girls who see the film over and over as if they were on a pilgrimage: they recognize themselves in her, and dream of falling into the arms of the gorgeous Leonardo.

Funny Games (Michael Haneke, 1997)

What a disgrace, just a complete piece of shit! I liked his first film, The Seventh Continent (1989), very much, and then each one after that I liked less and less. This one is vile, not in the same way as John Woo, but those two really deserve each other – they should get married. And I never want to meet their children! It’s worse than Kubrick with A Clockwork Orange (1971), a film that I hate just as much, not for cinematic reasons but for moral ones. I remember when it came out, Jacques Demy was so shocked that it made him cry. Kubrick is a machine, a mutant, a Martian. He has no human feeling whatsoever. But it’s great when the machine films other machines, as in 2001 (1968).

For other stupid statements, go to:
http://sensesofcinema.com/2001/french-cinema-present-and-past/rivette-2/

RIP.

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dave jenkins
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« Reply #1 on: January 29, 2016, 01:35:46 PM »

His most famous film is, of course, Celine and Julie Go Boating, a film I find impossible to care anything about.

In his later career he did some things that I esteem: La belle noiseuse (the greatest film about painting ever); Va savoir (nice use of a play-within-a-film); and The Duchess of Langeais (a Balzac adaptation). I haven't seen his Joan of Arc films.

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noodles_leone
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« Reply #2 on: January 29, 2016, 01:38:46 PM »

In his later career he did some things that I esteem: La belle noiseuse (the greatest film about painting ever);

Do you actually mean that or is it a metaphor for "the best shots of Emmanuelle Bear naked"?

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« Reply #3 on: January 29, 2016, 01:55:35 PM »

Can't it be both?

Actually, what I really appreciate is the fact that it's a film Emmanuelle shot before collagen treatments. Today she looks like a duck.

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« Reply #4 on: January 29, 2016, 02:27:17 PM »

I went there and found, not stupid statements, but several bordering on the profound. His takes Bresson, Bunuel, Cocteau, Minnelli, Mankiewicz.--spot on! And then there was this:
Quote
Starship Troopers (Paul Verhoeven, 1997)

I’ve seen it twice and I like it a lot, but I prefer Showgirls (1995), one of the great American films of the last few years. It’s Verhoeven’s best American film and his most personal. In Starship Troopers, he uses various effects to help everything go down smoothly, but he’s totally exposed in Showgirls. It’s the American film that’s closest to his Dutch work. It has great sincerity, and the script is very honest, guileless. It’s so obvious that it was written by Verhoeven himself rather than Mr. Eszterhas, who is nothing. And that actress is amazing! Like every Verhoeven film, it’s very unpleasant: it’s about surviving in a world populated by assholes, and that’s his philosophy. Of all the recent American films that were set in Las Vegas, Showgirls was the only one that was real – take my word for it.I who have never set foot in the place!

Starship Troopers doesn’t mock the American military or the clichés of war – that’s just something Verhoeven says in interviews to appear politically correct. In fact, he loves clichés, and there’s a comic strip side to Verhoeven, very close to Lichtenstein. And his bugs are wonderful and very funny, so much better than Spielberg’s dinosaurs. I always defend Verhoeven, just as I’ve been defending Altman for the past twenty years. Altman failed with Prêt-à-Porter (1994) but at least he followed through with it, right up to an ending that capped the rock bottom nothingness that preceded it. He should have realized how uninteresting the fashion world was when he started to shoot, and he definitely should have understood it before he started shooting. He’s an uneven filmmaker but a passionate one. In the same way, I’ve defended Clint Eastwood since he started directing. I like all his films, even the jokey “family” films with that ridiculous monkey, the ones that everyone are trying to forget – they’re part of his oeuvre, too. In France, we forgive almost everything, but with Altman, who takes risks each time he makes a film, we forgive nothing. Whereas for Pollack, Frankenheimer, Schatzberg…risk doesn’t even exist for them. The films of Eastwood or Altman belong to them and no one else: you have to like them.

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« Reply #5 on: January 29, 2016, 02:34:02 PM »


Actually, what I really appreciate is the fact that it's a film Emmanuelle shot before collagen treatments. Today she looks like a duck.

Agreed. She destroyed herself. She had a beautiful face, she spoiled everything.

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« Reply #6 on: January 29, 2016, 02:37:49 PM »

I went there and found, not stupid statements, but several bordering on the profound. His takes Bresson, Bunuel, Cocteau, Minnelli, Mankiewicz.--spot on! And then there was this:

He was stupid and nonsensical about what he didn't like. Like most people he was less entertaining but much, much more interesting when talking about what he liked.

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« Reply #7 on: January 30, 2016, 02:52:59 AM »

La belle noiseuse is a masterpiece. He made some more very entertaining films (Le Pont du Nord, La Religieuse, La Bande des Quatre), but also some which were a bit boring. His style has often a quite amateurish look.

I still want to watch one day the complete Out 1: Noli me tangere. And still haven't watched Paris nous appartient.

I like his ramblings about other films and directors. He has a position ...

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« Reply #8 on: January 30, 2016, 06:30:58 AM »

Never seen his films. We studied some of his writings in film school, where he was among the auteur theory's more dogmatic advocates (didn't he write "The Genius of Howard Hawks"?).

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« Reply #9 on: January 30, 2016, 06:38:22 AM »

Yes, he did:
http://www.dvdbeaver.com/rivette/OK/hawks.html

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« Reply #10 on: January 30, 2016, 06:46:33 AM »


I like his ramblings about other films and directors. He has a position ...

This isn't an opinion. Words have a meaning. If Spielberg is an "asshole" then how do you call a real asshole? This is just rambling, there is no meaning. No wonder his films looked so amateurish. Also his "opinion" about Kate shows how empty his own words were.

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« Reply #11 on: January 30, 2016, 06:50:42 AM »

Whenever someone starts bitching about Kate Winslet's weight in discussing Titanic, I feel free to tune them out.

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« Reply #12 on: January 30, 2016, 08:31:21 AM »

This isn't an opinion. Words have a meaning. If Spielberg is an "asshole" then how do you call a real asshole? This is just rambling, there is no meaning. No wonder his films looked so amateurish. Also his "opinion" about Kate shows how empty his own words were.

Ok, it's pretty overdone. He is still writing in the good ole Cahiers manner of the later Nouvelle vague directors. They were not vague when attacking directors they did not like, and blamed them also for their looks. 

Actually, I'm quite surprised that Jacquey is so brutish against colleagues. But the meaning is nevertheless there, and I see no connection with the look of his own films.

Noodles, you and French directors, worlds collide ...

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« Reply #13 on: January 30, 2016, 09:24:24 AM »

He was stupid and nonsensical about what he didn't like. Like most people he was less entertaining but much, much more interesting when talking about what he liked.
Well, yeah.

His earlier films may seem amateurish; not so his later films. With La belle noiseuse and those following there is a level of craftsmanship comparable to any film made in France in the period (the works of Resnais excepted). Which is not to say that all his films since the 90s are good--The Story of Marie and Julien (2003), for example, is a turkey. I'm also not so hot on Secret Defense . . .

But when he hit he really hit.

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« Reply #14 on: January 30, 2016, 11:00:58 AM »

But the meaning is nevertheless there, and I see no connection with the look of his own films.

To me, there are about 100 legit ways to attack Cameron and his work, but Rivette saying the guy cannot direct shows that there are many things about filmmaking the french director was miles from understanding. I'm not sure what he really meant because technically, Cameron is one of the best. I think Rivette is saying Cameron has no interesting "vision", which may be true, but it is a very weird way of expressing it.

Noodles, you and French directors, worlds collide ...

 Kiss

Well, yeah.

His earlier films may seem amateurish; not so his later films. With La belle noiseuse and those following there is a level of craftsmanship comparable to any film made in France in the period (the works of Resnais excepted). Which is not to say that all his films since the 90s are good--The Story of Marie and Julien (2003), for example, is a turkey. I'm also not so hot on Secret Defense . . .

But when he hit he really hit.

I've been wanting to see La Belle Noiseuse for some time. Naked Emmanuelle aside, it does look good.

So among you guys who's seen many of his films, which ones are the good ones?


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