Céline und Julie fahren Boot

Julie is a quiet and quite shy librarian who is in the park reading her book when a sort of white rabbit runs by in a hurry – dropping stuff as she goes. Julie follows the girl to return her glasses etc but loses her, only for the girl (Celine) to turn up at Julie's workplace and put their two lives together. Julie discovers that Celine has been visiting a mysterious house during the day but leaving without a memory of what happened to her in there, so she decides to visit it as well – only for the same to happen to her. The pair try to remember what they have gone through and gradually piece together that the house is trapped in a ghostly loop of the day a young girl was killed.

This plot summary is perhaps a bit flattering to the film because it does suggest that this is a tight little mystery with an element of magic and the supernatural to it, however nothing could really be further from the truth. As others have said this film is not really so much about what it seems, but few reviewers here have been able to shed much light on what it is actually about, with the majority just gushing about what a wonderful experience it is. I do concede that watching the film is an experience because it is very different from a lot of stuff I have seen before, but that does not necessarily read that it is brilliant as a result. I know there are things here that I am missing and I'm sure I'm being a total philistine, but it does seem that some people (particularly those who can barely stretch their love of the film to longer than a few lines of text) seem to be falling over themselves to praise a French art film for being, well, French and arty.

It was difficult for me to get through, I'll be honest, because it is very long by anyone standards. The first hour seems to be mostly silent and very, very little happens. Later in the film we do get more into the mystery of the house but even this is stretched to the point where it is hard to really care. Rivette has directed with a nice hand, using edits and atmosphere to produce a sense of wonder where really there isn't one. It does seem like his way of letting his cast explore has helped produce some of this natural air of imagination but I did wish that someone had maybe suggested to him that he reign it in to some degree but I guess nobody did (although seeing some of his other work, maybe this is him in total control!). The overall theme of childhood and imagination within this Alice in Wonderland rip is OK to discuss and think about but it is nowhere near interesting or clever enough to justify the long running time given to it here.

The cast do well to improvise and both Berto and Labourier have bought into the material well, producing the imaginative wonder and lack of restraint that the material needed – it never seems like they are questioning anything they are presented with, which is pretty important with all the crossing of identities etc. Outside of them though there really isn't anyone else as the "ghosts" are mostly quite stagy and unconvincing.

Overall then an interesting film on paper but a frantically difficult one in reality. I'm sure many viewers will fall for its meandering scenes and imaginative subtexts but for me personally I found myself "getting it" quite quickly but then still forced to watch the scenes as they drag on. Call me a philistine if you wish, but I didn't really see what all the fuss was about and didn't find the heart of the film to reach me as it appears to have done with other viewers. Have a go by all means but please see it for yourselves and don't let the critical hype tell you what you "should" see.

Movies would seem to be the ideal medium for surrealism, yet there are almost no good surrealist movies. There is the venerable "Un Chien Andalou", and there is "Celine et Julie vont en Bateau", and that might well be the lot. "Celine et Julie" has been one of my favorite films since I first saw it in the 1970s, because it is hypnotic, thought-provoking, mysterious, and funny, all at once. Its overall style could be described as magical realism, in which the quotidian life of Paris serves as a mere background for the magical fantasy life of the protagonists, two young women on a psychic journey, which may or may not end in madness ("vont en bateau", which literally means "go boating", is also slang for "go crazy").

The film is made of moments that seem to happen outside of time. In fact, the passage of time, the succession of events in everyday life, becomes an intrusion on the increasingly shared inner life of the two women, and each takes (hilarious) action to prevent those intrusions from continuing. They determine, in effect, that they must return as adults to their childhood in order to change the past. This may sound like a boring Freudian nightmare, but there is no heavy-handed psychologizing in the movie; it is all play, lighthearted yet beautifully composed. The sound-track is particularly effective, almost hyperrealistic, with no background music. The click of heels on pavement, or the motor of a taxi, loom out of the silence as in a dream, which the movie may be, at its heart.

I give this one a 10. You probably know already whether you would like it. If so, see it in a theater if you can, and on video if you must, but don't miss it.

Praised by the critics as "delicate , mysterious, and exiting", "an original and entertaining metaphor for film-watching and, perhaps, film history", and named "The most radical and delightful narrative film since Citizen Kane! The experience of a lifetime" by New York's critic David Thompson, "Celine and Julie Go Boating" (1974) is all of the above but first of all it is incredible fun to watch. This magic candy of a movie tells the story (or rather plays with the story) of two friends, Julie, a librarian and Celine, a magician. The film starts one sunny summer day in Paris when Julie follows running through the park and losing her stuff all over (a scarf, a shoe…) Celine exactly like another girl in the English country side one sunny summer day had followed a White Rabbit into a world of her imagination. Two girls became friends and soon with the help of a magic memory-inducing candy, they both will be the observers and participants in a bizarre soap-opera like drama that takes place in a mysterious house. It involves two stunningly beautiful women, a blonde and a brunette, who are in love with the same man. The man is a widower with a young daughter who had promised his wife that he would not remarry as long as their daughter is alive. When the blonde and the brunette become desperate enough to try to do something about the situation, it is up to Julie and Celine to come up with the plan and to rescue the young girl. Will they go boating? Well, you will have to stay with them for all 193 minutes to find out. Yes, Rivette takes his time but his movie never seems slow or boring. Playful yet complicated, mad and funny, "Celine and Julie" is a magic movie. It grabbed me from the opening scene - which is of course the opening chapter of "Alice in Wonderland" - and it never let go. Buniel would love this movie, I think. It also reminds me of "Mullholand Dr" and even "Persona" but in the absolutely different mode. Simply DELIGHTFUL.

I saw "Céline et Julie vont en bateau" a few years after watching "3 Women" and Claudia Weill's "Girlfriends." The next day I saw it again, and then again and again... This was a time when I was very interested in the depiction of modern women in films: some were quite original and revealing, and this was indeed one of them, dealing with the creative process, and women's imagination. Made in 1974, it had a similar origin as that of "3 Women", in which the female cast (Juliet Berto, Dominique Labourier, Bulle Ogier, and Marie-France Pisier) worked with director Rivette and writer Eduardo de Gregorio on the script. It is also a story of female bonding and solidarity, but instead of relying on dreams, it uses magic and literary sources, Lewis Carroll's "Alice in Wonderland" being the first to come to mind. Librarian Julie (Labourier) becomes intrigued by weird rabbit-like magician Céline (Berto), but soon one is after the other. They become friends (or sort of) and exchange roles in each other's life, but nobody seems to notice the difference. Then Céline reveals she frequently goes inside an old house where a melodrama is repeated on and on (based on Henry James' "The Romance of Certain Old Clothes" and "The Other House"), enacted by two women (Ogier, Pisier) who are both in love with a very pale man (filmmaker Barbet Schroeder.) In the old house there is also a little girl (Nathalie Asnar) who is in danger, so Céline and Julie become the "phantom ladies" of the title (including Fantômas outfits) to rescue her. This post-modern movie is a puzzle, and the audience is intellectually involved in the making. Critics went crazy and called it "the most important film made since 'Citizen Kane'." I don't know if it is, but I love it: it is funny, demanding, entertaining, and sometimes boring, in the best tradition of Satie's repetitive "Vexations". Reworked as "Desperately Seeking Susan", without acknowledging it.

When I first saw this film I was amazed by it. The freshness and the imagination of the two protagonists, the way in which it recognised the magic (real magic) of Paris, and the strange parallel worlds it created in which Celine and Julie are both deeply involved and creating, and then acting, their own parts. On re-viewing it more than ten years later though, I was surprised to be a little disappointed. The magic is so thin. Celine and Julie have taken the, very conscious and explicit, decision not to grow up, and as a result, although they are beautiful adults, their world is a child's world. Their imagination is child-like, in its imagery (sweets, plastic "dinosaur eyes", rather thin puns), in its chosen surroundings (cases full of dolls), its disasters (a grazed knee), its aims (largely disruption of the concerns of surrounding adults), in its ridiculing of sexuality and its steadfast refusal to admit that fantasy is sometimes, necessarily, dangerous. Without any danger or any desperation, it seemed on second visit a charming but slightly futile game.