In my creative youth, in my curious youth and eagerness to see as much as possible, I was in love with French film. I liked the contemporary French film with me at that time, that is the 60s and until 2000. Towards 2000 less and less. Anyway, I couldn't watch the movies until much later than when they were released, so it was always a gap of at least 10 years.
The interest in French film, in adolescence, was for action films and representative actors, such as Alain Delon, Jean-Paul Belmondo, Lino Ventura ... but then I discovered the New French Wave. From here on I was massively attracted by the representative films and directors: François Truffaut, Jean-Luc Godard, Claude Chabrol, Éric Rohmer as well as by their cinematographic art magazine, "Cahiers du Cinéma". I remember not being able to watch the movies, but I found notebooks with the screenplays at the French Library in Bucharest. I read these scripts imagining what the movie was like.
My favorite directors of this period were François Truffaut and Éric Rohmer. but I was amazed to learn, from Truffaut's words, that the New Wave began "thanks to Rivette"! That's how I found out about Jaques Rivette, much too late, but fortunately, the film remains even after its directors leave and I was able to see his most famous and "spectacular" film, "La Belle Noiseuse" meaning "The Beautiful Troublemaker "!
I say "spectacular" because it's not at all spectacular in the normal sense, when you mean a movie, even the opposite. I say from the beginning that it is a very boring film for the unsuspecting, unfamiliar with the long scenes, without dialogue, which lasts in the film as long as it lasts in reality.
I think many of you know that a movie sequence is much shorter in time than it actually is. In just ten, twenty, or sixty seconds of film, a whole day of our reality can be shown. This compression is required for movie dynamics. Because of this, you will not see in movies sequences equal to their duration in our reality, in our life.
Only in a few cult films and few directors had the courage to film scenes as long as in life ...
So there will be a few words about The Beautiful Troublemaker, really beautiful, that raw and helpless beauty from the outside, as were the women and actresses of the '80s, especially the French women.
La Belle Noiseuse (The Beautiful Troublemaker)
Director: Jacques Rivette
Writers: Pascal Bonitzer (scenario), Christine Laurent (scenario)
Stars: Michel Piccoli, Jane Birkin, Emmanuelle Béart
An award-winning film, a film appreciated by moviegoers, a special film, Rivette's last important film (in my opinion and tastes).
This is a film about creation, about the relationship between the creator, his muse, and the resulting work. It is a film about the sunset of life, about the last wish and about death.
Of course, the movie trailer helps us get an idea, but it is not the best image of the movie, because it is made, first of all, for commercial purposes, to sell as many tickets as possible. So don't be fooled! Form your own opinion.
I found out now that the trailer is age-restricted and can only be seen on Youtube - Trailer . It is somewhat normal because it is the naked body of the model. I'm trying another video ... I see that it works, although it is even more explicit!
Now let's talk a little about the movie. Of course, I will not tell but it does not matter, it is not the plot that matters, but the message and the emotion conveyed.
A powerful film that addresses the rare and complex theme of creation. Jacques Rivette's masterpiece!
The story is like this ... a famous painter who has not been inspired for 10 years and who suddenly, after meeting a young girl with a strong personality, a little rebellious, will regain his taste for his art, and wants to model.
Piccoli, in the role of the painter, the former famous painter Frenhofer, is admirable and probably plays his best role, he is "crazy" for his painting, in ecstasy. He plays beautifully all the feelings, all the depth of the character.
For the model Emmanuelle Béart, who also plays the best role in her entire career, a rebellious character. For the model, the principle is surrender and submission. She told him at one point: "she looks like a cat playing with a mouse" She who was rebellious, leaves in this game, to learn about herself, like psychoanalysis, and gives up contributing to creation. She is intellectual and intelligent, she knows that she participates in the creation of a masterpiece and also in the resurrection of a genius. She accepts everything, she lets herself be twisted and tortured because he wants to surprise, to surprise the inside of her soul and not just the outside physique.
Then there is the nude, which is not sensual as usual in cinema, in most cases, not sexual, we are beyond desire, but good in aesthetics, as in the essence of art, ancient culture. Emmanuelle Béart is naked and contorted, as we rarely see in the cinema, she is simply beautiful, sublime, emotional.
Each photo is a little gem. There is also the important role played by the real painter, Bernard Dufour, with all the close-ups on hand, because Piccoli does not know how to draw, of course.
The film lasts 4 hours, but every minute is interesting, even if it is tens of minutes when we see only the creative process. A descent into the painter's studio as has never been done before.
Words are superfluous, after all, this is a movie to watch. Of course, by those prepared for such a thing. I don't want to offend anyone, but those who see a funny movie in the movie will certainly not have the patience to watch (four hours!).
Fortunately, this movie can be found on Youtube, if anyone wants to watch it, you can find it here!: La Belle Noiseuse
The cast of the film, the main roles: Mihel Piccoli, Emmanuelle Béart, Jane Birkin. I like them all very much. Unfortunately and incomprehensible, Emmanuelle Béart underwent cosmetic surgery that turned this natural beauty into something less pleasing to look at. She was for a time the wife of a great French actor, Daniel Auteuil. Breaking up with him was probably not a wise thing to do.
it was just a can-can. The life of the actors has been, is, and will always be different from that of the others.
This is a movie to watch in peace. Nothing spectacular except Emmanuele's nude. But, like any good movie, it makes you think a lot after watching it. About youth, old age, art, life, death.
Although I like to use only my materials in blogs, in these about movies you can only turn to other sources. The source of all photos is Here
I will ask my niece Ilinca to announce that it is over.
I always appreciate your writing and how you describe, not just movies but also in every other contents. You present each movie as an experience rather than reviewing, as if you've had a memorable journey.
Thank you so much for sharing. I get to learn from you a lot
It was my pleasure and I'm glad you understood best how I want to write about movies. My experience and emotions. An invitation to see that movie, for which you will have other emotions than mine.
Thanks a lot for the appreciation, I didn't realize that I have a style of writing and that someone can like it. I'm glad.
An excellent critical review of this film by an undoubtedly cult filmmaker. I share a taste for French cinema, and in particular for the so-called "new wave" ("nouvelle vague"). It reveals a little known film about a thematic relationship of great interest, with first class performances. Thank you and best regards, @bluemoon.
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It was the first Rivette film I saw many years ago and I'm not sure if I appreciate it consciously. I have to see it again. Although I remember it was a long film. And the blueish tint in the frames. Those frames were pretty as was the muse.
You remember well. To see the movie you need a certain state and to be prepared for something very long. I think it will please you more, just be aware that it will be a different, slow pace.
I don't mind slow pace at all, if the frames are smart and beautiful enough to keep my attention. In some case, frames themselves can have enough visual power to draw you from the story completely, it's not a bad thing really. For instance, Sergei Parajanov's films.
I don't know Sergei Parajanov, I have to look.
I consider that the film is very visual and, paradoxically, it was not the scenes from the painter's workshop that attracted me the most. Not the painter-model relationship, which is the theme of the film, I liked the most ... more interesting for me was the painter-wife relationship (although it was a secondary theme).
curated on cinetv.io
Thank you!