Paris nous appartient

This is an unusual film. It revolves around a group of characters that are slightly connected to each other through their artistic tendencies and/or political beliefs. The group is presented well - it is quite realistic, even though it is so colourful. This is perhaps because the criteria for being part of the group are so 'normal'. Friends, people with similar interests.. acquaintance networks - this is something that is presented very well in the film.

A sinister undercurent pervades the whole movie: a background plot that is never revealed, or shown directly - it is something that the characters speak to each other about and make reference to. While in other movies the conspiracy plot would have been the central theme, here it is pushed into the background, delegated to a simple object of discussion - the movie instead revolves around the lives of the characters and in particular, the protagonist's, from whose point of view the situation is seen. By bringing the focus onto the characters and their daily lives, illusions and aspirations, the movie manages to to breathe fresh life into what would have otherwise been just another conspiracy film.

A few technical things: The acting is not very consistent. The parisian scenes were very good and the photography was aesthetically pleasing. The music enhanced the atmosphere significantly, though some of its psychedelic overtowns were a bit overpowering at points (making the dialogue hard to follow - if the intention was to transfer the confusion/paranoia to the viewer, it was appropriate, however).

It's not a masterpiece, but it is definitely interesting and worth watching at least once.

:It's 1957. Betty Schneider is a student who gets involved in small acting troupe. As the rehearsals proceed, she notices odd things, and begins to suspect some secret organization is responsible for the death of the American journalist, novelist and music composer for the show, Daniel Crohem.

Jacques Rivette's first feature shows the gelid calm that appeared in most of his movies. with politics and assassination merging in a manner that Hollywood would only tackle in the 1970s.... usually with an air of hysteria. There are a lot of shots around Paris that makes the city a cynical observer of these human goings-on, a subjective camera that views the affair with contempt. I wonder how cameraman Charles Bitsch got that effect.

This is the second Rivette movie i watch, previous one was "La Belle Noiseuse". LBN is a better movie. PARIS BELONG TO US is a very strange movie but that's something everyone can guess just reading the synopsis and the plot. One can say there are political undertones here or a "Lynchian" vibe, even Kafkaesque. Whereas i don't necessarily disagree, i would say that this is not that political/cryptic/nightmarish. It's more drama than mystery and most of the questions were answered in the ending, even though the answers are not so satisfying.

In any case, i liked it a lot. Pace is very good for a 140 minutes French art movie of the 60's. It's interesting, it made me invest and i was curious to see where it goes. Great as a time capsule, Paris was wonderful. Actors are great. This is one of the movies that you should watch a second time for understanding it completely. I won't though. It's good but it is not THAT good. Pace was good as i said but it should have been at least 10-15 minutes shorter. For a 140 minutes movie, it should have been more intriguing to call it a great movie. And the ending was probably clever but i didn't like it, so much for nothing.

But there was some brilliant dialogue here. Way too cynical for its time of course. I think this is a timeless movie, hasn't aged a bit. Less obscure than it seems. If this description made you curious too, watch it, you won't be disappointed.

I suppose that's a bit of an oxymoron: to blend New Wave and classical literature. After all, New Wave is the cinematic movement that prided itself with trashing the standard literary formula. I equate New Wave to free-form jazz which trashed the standard classical music structure in favour of expression & improv.

Well I'm not a big fan of New Wave (or free-form jazz), so it was rather begrudgingly that I watched this film. Surely enough, it begain in a sort of expressionistic delirium, prompting me to say, "oh great. here we go again. haiku anyone?" But suddenly it reins in, and a very lucid story materializes out of the haze. I was pleasantly surprised. There are many compelling allusions--if not outright parallels--with the classic play "Pericles, Prince of Tyre" as well as Molière and Goethe. This means that the film adopts a certain bit of structure, which is highly unusual for New Wave. I found it very refreshing. With philosophical overtones of Sartre and Camus as well, it's by far the most head-scratching, beard-stroking New Wave film I've seen, and it's not just existentialistic babble either (although there is a hefty share of existentialism).

Its biggest flaw, however, is that it seems to attacks too many themes at once, and in so doing, it dilutes the power it could have had. There's only so much that can be packed into a film, even if it is 140 mins. As a few other reviewers have pointed out, the ideas presented are truncated. Mere fragments. The director intended this, as we see in a dialogue where two characters discuss how the play Pericles is a very fragmented tale which comes together only at the end. HOWEVER, in the case of "Paris nous appartient", it doesn't seem to come together. Whether this was deliberate irony on the director's part or whether it was just poor execution, I can't say. But either way it left me unfulfilled.

It is possible that I missed something. Perhaps I should see it a 2nd time, but unfortunately it falls just shy of the good-enough-to-see-a-2nd-time mark. I did enjoy it, and I'm glad I watched it, but I probably wouldn't care to see it again.

If you see this movie and agree with what I've written, then I think you'll enjoy the film "Orphée" (1950).

Oh, and just a word about the music in this film (since I've already made the analogy of jazz), it's... well... wacky. It's really the equivalent of jazz improv except with symphonic instruments. At times it fits the absurdity of the moment perfectly. But at other times, especially during the dialogue, it can be a bit distracting. I kept wondering to myself how much better it would have been with just a single brooding piano instead of the experimental orchestra noises. But music is entirely a personal taste, so you may enjoy it.

It's like the New Wave version of a mystery/conspiracy thriller, and in that regard it works really well. The black and white cinematography suits the tone perfectly, even if the very poor quality of the film makes it hard to tell, and it's supported by some disorienting editing and a great use of light and shadows. There's also a really terrific score, probably one of the best for this genre. Even though the film runs 140 minutes, it never really feels boring, as the conversations between characters are gripping enough to keep the viewer's interest. The story is rather strange, as it appears to be non-linear and occasionally irrelevant, but it seems to work out at the end. However, unfortunately, the end is a complete disappointment, as it attempts to hammer home some political viewpoints that just end up being confusing, and then coasts to a unsatisfactory finish without really tying up any of the loose ends. It's an interesting watch, and you could do a lot worse, but it's no masterpiece.