Não me Toque

More than anything else watching "Out 1, noli me tangere" was a completely unique and, as much as I hate the use of the word in relation to film, revelatory experience. For most of my life I have involuntarily dwelt on what I perceived as 'imperfections' in any book, film, television series, or album I was particularly interested in, and completely ignored the argument that the whole, the ultimate experience, overpowers any flaws to the point that they don't matter. By no means is "Out 1" a 'perfect' film by conventional standards, boom mics are visible, random passers-by in Paris stare with bewilderment at Rivette and his actors, some scenes (in my estimation) go on far too long, specifically the 'acting exercises', which are beautiful and fascinating at times and indulgent nonsense at their worst. At least, that's what I thought while watching the film. Looking back at "Out 1" as a complete work of art it is a triumph of style, of aesthetic, of humor, of storytelling and of acting, and the end product is, in its own unique way, 'perfect'.

"Out 1" has an intimidating reputation, and most reviewers fail to point out that it is largely unwarranted. Most people know it as an outrageously long (it is nearly thirteen hours in length) hardcore art film. That is not true. "Out 1" was planned as a television series for French state TV, which refused to air it resulting in it being shown once, theatrically, over two days in 1971 and then disappearing for 18 years. It is, in intent, as much a conventional theatrical film as Dennis Potter's "The Singing Detective" or "I, Claudius". This is not in any way diminishing its status, in fact, it should encourage more people to see the film knowing that it was intentionally split into eight easily digestible episodes and flows like a great miniseries.

Also, while the film has sections of impenetrability, and is ultimately confusing here and there, it does have a mostly linear and easy-to-follow storyline, at least for the attentive, intelligent viewer. It's also an incredibly entertaining storyline, and while I'm not going to describe it here, I'll just quote from Rosenbaum's review of the film, which does a nice job of summing up the main plot: "Then gradually, as in a vast novelistic fresco, more crisscrossing intrigues emerge -- some of which include a lawyer (Francoise Fabian), another member of Lili's group (Hermine Karagheuz), and a hippie boutique owner (Bulle Ogier) with a dual identity who provides the name for episode six, "From Pauline to Emilie," all by herself -- until all strands are intertwined. Eventually Frederique steals a batch of letters that point her in the direction of the same mystery Colin is investigating: a clandestine group of 13 people from different sectors of French society who, inspired by Balzac's Histoire des Treize (gracefully explained here by Eric Rohmer, in the role of a literary scholar), have come together to control Paris. Or perhaps the group has never existed as anything but a plan, one abandoned after the failed French revolution of 1968. Colin and Frederique have different reasons for their pursuits -- his are intellectual, hers are mercenary; their paths cross only once, and very briefly at that." There is more to the film, certainly, much more, but that is the main driving force of the story.

The film also destroyed any ideas I had about 'efficiency' in storytelling. "Out 1" takes as much time as it needs to tell its story, and unfolds slowly over eight episodes, exploring each and every one of its characters in great detail and leading to a climax that's both believable and satisfying within the realm of the film, but also frustrating not in a conventionally anti-climactic fashion, but in the way the end of a story within your own actual life often feels. I do firmly believe that the viewer should not attempt to watch the film in one long stretch, as the ability to reflect on each episode (which are, on average, around 90 minutes long, and are as full of detail and depth as many great feature films) was an essential part of just how much I ended up enjoying "Out 1". It is lengthy, sure, but it is unbelievably enjoyable viewing, mostly thanks to the fantastic enigma at the center of the film as well as its brilliant sense of humor. I'm sure Rivette enthusiasts will stop reading this once I say it, but I can absolutely see the Coen brothers (albeit the Coens in "Barton Fink" mode rather than "Burn After Reading" mode) making a much shorter version of this film and doing a great job of it. The characters, the humor, and the mystery are all there.

Nearly all of the characters in this film are great, but Colin and Frederique are possibly my two favorite characters in all of cinema. I won't say much about them here, but they are among the best-defined and most interesting characters I've seen, and even without the strength of the rest of the film would have been enough to keep it interesting. I'm not sure how much of this film was improvised, but I understand that quite a lot of it was, which is really a testament to the skill of the cast and also the director, whose long takes and subtle direction are as fascinating and beautiful as the performances and story. "Out 1" is a fascinating enigma of a film, one which takes the viewer on a fascinating, enigmatic journey filled with hilarity, tragedy, and mystery, as well as a healthy dose of adventure. "Out 1" defies labels, defies genre categorization, and remains completely unpredictable throughout (even its final shot is surprising, and brilliant). This is most definitely a masterpiece.

What a crazy film!It lasts 12(!) hours and you don't understand who these people are and what are they doing!The main plot is about a bunch of clueless actors trying to bring on scene "Prometheus",but there are lots of sub-plots,like the disappearing of Thomas and a crazy guy looking for Monsieur Warok....what's the meaning of all this???

I think that Pierre Léaud, or his character, to be precise, is really outlandish but with grace: I also remember the chess player, and of the girl who seems to be appearing by chance in his home, something really curious...the woman acting as the lawyer, is to me one of the most beautiful actresses ever seen on the screen...but I must admit that the plot is too inconsistent to be taken seriously....The character who plays as the lead theater actor is really nice, especially when he's annoyed by the new actor, the one in purple t-shirt...also, the scene where the bearded actor - who belongs to another company - directs the stage is really fascinating and relaxing, as it often happens with this movie - for example, when they drink tea, they just make you want to have a cup...

At close to thirteen hours in length, Out 1 (1971) is director Jacques Rivette's most challenging and complicated film; mixing elements of topical social debate, character comedy and narrative self-reference alongside thematic elements lifted from Honoré de Balzac's epic collection of inter-linked novels, La Comédie humaine, updated to a contemporary French setting. I was lucky enough to see the film in its full, uncut form at the London NFT back in April 2006, having no prior experience with Rivette's work at that particular time, but being told that as a fan of Jean Luc Godard, his style should be right up my street. Since then, I've seen two other films by Rivette - the frantic farce of Celine and Julie Go Boating (1974) and the more reflective, though somewhat arduous La Belle Noiseuse (1991) - both of which are similarly unwieldy in length and filled with a variety of deconstructive narrative tricks that are self-reflexive in design.

Without wishing to take too much away from Rivette, the presentation of Out 1 suggests certain similarities to Godard's underrated political satire La Chinoise (1967); with the emphasis on a group of disparate characters attempting to uncover some hidden truth (here through the art of performance) that is contrasted against a topical, socially-aware backdrop of contemporary Parisian existence. The self-referential idea of a film about performers putting on a performance created by performers (etc) is exploited throughout by Rivette, who captures the proceedings in an uncomplicated, technically progressive approach that mixes elements of documentary-like investigation, cinéma vérité type deconstruction and a more experimental sense of abstraction that intensifies as a result of the film's hypnotic, languorous rhythm. According to most sources, the film was made without a script - again, something that Godard would occasionally claim to have attempted, though in reality was far too much of a domineering perfectionist to really adhere to - and the shambolic, formless improvisations, uncomplicated mise-en-scene and obviously unrehearsed moments of filming on the streets of Paris would all conform to this idea; with the film featuring a number of accidental technical errors that have been deliberately left in the final cut in order to alienate us further from the story and its characters.

These mistakes include the shadow of the boom-mic, fluffed lines, camera reflections and the awkward gaze of street-level spectators glaring into the camera lens whenever Rivette and his crew hit the streets. In any other film, these flaws would be dismissed as simply incompetent film-making; however, in Rivette's work, such deliberate mistakes become part of the artistic aesthetic that here conspires to challenge the audience on both an emotional and purely visceral level. By including such examples, Rivette is bringing to light the artificiality of the film; offering us a fractured narrative about creative expression in a behind the scenes sense that continually reminds us of the manufactured nature of the thing itself. Shot on 16mm, Out 1 comes to typify the reportage style of cinema in which the emphasis is placed on clinical examination, as evident from the director's continual use of incredibly long takes and often complete lack of close-up shots to further distance us from the action and the characters on screen. This sense of deconstruction and deliberate alienation from the traditional cinematic codes and conventions that many of us might expect can also be seen in Rivette's experiments within the narrative, and how we, as an audience, are invited to find our own themes and interpretations as the characters in the drama group are likewise expected to find a motivation of their own.

With these factors in mind, Out 1 is quite simply cinema at its most challenging and revolutionary. It is as far removed from the recognisable conventions of traditional film-making as one could possibly get, and seems to be an extension of the more superficial experiments of Andy Warhol combined with the unapologetically lofty output of Marguerite Duras; and all combined alongside certain stylistic elements found in the aforementioned La Chinoise and the Japanese New Wave masterpiece, Funeral Parade of Roses (1969). However, if you're already familiar with Rivette's work, from the preceding L' Amour fou (1968) to the more widely regarded Celine and Julie..., then you should be accustomed to the more alarming, deconstructive elements and the film's disarming length. As one critic put it, "the best way to experience Out 1 is to immerse yourself in it completely". Obviously, few of us will ever have the time or the energy (not least, the opportunity) required to get through the whole thing in a single sitting, however, given the fact that the film is broken down into a number of disconnected chapters, we can easily approach it in bite-sized chunks; losing out on the overall feel and flow perhaps, but still receiving the required information as it comes.

For many it will no doubt feel like an obvious period piece - something that is there to be endured as opposed to enjoyed - though nevertheless, there is a real flow and a sense of energy to the film that might seem surprising given the slow-pace and epic length. It is a film that resonates with ideas about life, love, freedom and expression, all captured in a manner that is anarchic, spirited and filled with passion and vitality. It does take a great deal of work; and as a result, this review is really only scratching the surface of its themes and ideas that are there to be poured over by the viewer at their own leisure whilst immersing themselves in the continual games and absurdities of the plot. Although as a film it is always going to have an incredibly limited audience, as an experience Out 1 is second to none and really deserves to be seen in its full, 773 minute restoration, rather than the shorter, 4 hour cut, Out 1: Spectre (1974), which should probably be seen as a standalone work in its own right.

Here is another film, similar to 1924's la Roue, where narrative structure is not only ignored, but largely obliterated in this 13 hours-long character study, acting study, process study - and film is all the more better for it.

On one hand, Out 1 is minimalist (in settings and surroundings) . On one other hand, however, it is elaborate and sprawling (I am referring, obviously, to its massive run-time.)

Film spends several hours drawing us, in cinema verite fashion, into the characters' meandering, directionless lives, through conversations filmed in mirrors, and stationary cameras in backseats filming conversations during car rides, lengthy sequences of two theatrical troupes rehearsing Classical stories, and, most amusingly, small kids and curious passersby follow cast and crew during filming.

Fiction eventually begins to overtake this pseudo-documentary, as the young man initially referred to in the film's credits as "le jeune sourd-muet" (the young deaf-mute) becomes known as Colin, and his harmonica-playing deaf-mute act is revealed to be just that, an act. He is revealed to be a bit of a conman, a poetic, philosophical con-man (who believes there is a real life secret society known as The Thirteen) much like Frederic is revealed to be a con-woman, stealing correspondence to try to blackmail and extort money from their writers, (and who might have really discovered evidence of the existence of The Thirteen) Neither is who they appear to be- they each have a face to show, and a face to hide. Curiously, despite being prominently featured characters, Colin and Frederic share only one scene together. Even more curious are Pierre and Igor, two major characters in the plot who are never shown at all, either together or by themselves.

Interesting colour composition, especially in episodes 4 and 5; Frederic, in white, on a dark green rug, in front of red tapestry hung on the wall behind her, as she begins to wonder about the mysterious Thirteen she has learned of, as the plot (sort of) kicks in; black suit on deep red sofa against pale white wall, simple composition successfully made chaotic by chess board and chess pieces in front of him. Rooftop conversations overlooking Paris and the Seine river ; the city itself and its buildings and its streets become a character in its own right.

But, is there really anything to the Balzac-inspired Thirteen, are they real and trying to control all of Paris, or is this just a search for some purpose (unravelling this mystery) in their meandering lives?

We, the audience, try to understand the crisscrossing and tangled narratives and characters, much the same as Colin tries to understand the Thirteen. We are trying to unravel a mystery to. But it is almost of no matter if The Thirteen exists or not, just dive into the characters' lives for the duration of its thirteen hours runtime.

This is not plot- or character-driven, it is process- driven. The process of filmmaking,