Paris nous appartient

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.

If you like David Lynch's films, you might enjoy "Paris nous appartient". After having seen it, I still did not know what it was really about. This film develops an atmosphere of sheer mystery, which will never be solved completely. On the other hand, it also touches the political situation of the 50s. The overall existence of conspiracy is very appealing, as is the innocent character of Anne. Music and camerawork are very unusual, the latter making the film rank among the best of the European New Wave.

9 out of 10.

We have a rather intimidating tappestry here at first sight, about a web of Parisian lives connected to each other and informed by a bunch of nested references. To a mysterious suicide and a missing sound tape, to a staging of a Shakespeare play as mirror of the film we are watching, to shadowy conspiracies supposedly pulling the strings of what we see from a higher, unseen level.

So we have a film-within, as often with Nouvelle Vague, but also a film without. Or better yet, the film we are watching as devised by unseen minds above shaping its world. Bridged by actors (and non-actors) who act parts knowingly or unknowingly, who may be chess pawns moved in turn by other pawns. The idea is that eventually we never get to find out how much of what we saw was this game and whether or not the game was imagined or masking a sinister plot.

So far so good, a complex film in which to superimpose the various grids. Yet at the same time not so complex after all, rather obvious in how it handles us the various keys.

For example; describing the play he's staging, the director says that he welcomes the challenge of bringing order to the convoluted mesh of different roles, that the world of the play is chaotic but not absurd. Does anyone have doubts that we're watching a surrogate Rivette describe the film? Then the stuff about conspiracies. The idea is of course that they may or may not be true, yet in getting there we are treated with naive politics about money ruling the world, a policed, monitored world.

In the finale we get some rather interesting insinuations about where the mind conspiring for answers in the face of an uncertain world leads us. When anything is imagined to be possibly true, nothing is.

The one notion that holds some actual power in all this, is precisely the one that is not explicit. A film noir plot elusively unraveling in the background of so much distraction, about a mistress and her ex-lover arranging murders as suicides. Why, to what end, again open ends. We may or may not imagine this, but this ambiguity is ours.

We would later find in the films of David Lynch and Raoul Ruiz all this situated back in the imaginative mind, where all our fanciful storytelling begins and where the illusionary images (bent by desire) we use to represent reality are born. In more cinematic ways, more fluid. This maintains the appearance of an ordinary world, it's talky, and the camera is not adventurous. It's never really dangerous, except until too late, or passionately engaged in its codas.

But one of the places this mode begins is here, in nascent form. Earlier yet, it was film noir, which the film references and even innovates in an important way, ingenious for its time (by making the noir plot the vague inference, and the karmic forces of noir the explicit reference and actively recognized by the characters). Although it often appeared clearcut and about a simple crime, it was riskier stuff in the right hands.

(A few more words on this: with noir we view a threatening cityscape where cast upon it are shadows of the mind, illusions of desire about a woman or money which in turn distort what is perceived of reality. With the post-noir landscapes (such as in Lynch), we experience instead the world of the mind - now the shadows are inverted, they're pieces of reality which seep back as filmic devices, which the mind arranges into a movie plot that sustains the illusion! This is for me one of the most fascinating journeys available in cinema, from Shangai to Inland Empire, and Rivette's film may not have refined as much but it's an important link in the transition.)

A rather wordy first feature from Jacques Rivette set in 1957 and probably filmed that year as we know it took some time to get a release. If the film had difficulties back in the day it would seem it has even more now. The young men look far too old to be going around acting in the way they do yet we are presented with this bunch of alienated persons, alienated either by their own existentialist attitude and stated beliefs or their immigrant status. One has fled Spain another the fruits of Mccarthyism in the US and all meet and disperse, foretelling of doom, murder and suicide. At the same time a production of Shakespeare's Pericles is being attempted and although I do not know the play I understand the problems of staging it is an ongoing feature and the unresolved nature of much of the play is reflected here in the story of alienated 'youth'.