Posts Tagged ‘Cahiers du Cinéma’

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Distributor: Arrow Academy

Release Date: May 23, 2017

Region: Region Free

Length:

Noroit02:14:40

Duelle 02:00:41

Merry-Go-Round02:40:20

Video: 1080P (MPEG-4, AVC)

Main Audio:

NoroitFrench Mono Linear PCM Audio (48 kHz, 1152 kbps, 24-bit)

Duelle French Mono Linear PCM Audio (48 kHz, 1152 kbps, 24-bit)

Merry-Go-RoundEnglish & French Mono Linear PCM Audio (48 kHz, 1152 kbps, 24-bit)

Subtitles: English

Ratio:

Noroit1.85:1

Duelle 1.85:1

Merry-Go-Round1.37:1

Bitrate:

Noroit37.31 Mbps

Duelle 37.17 Mbps

Merry-Go-Round 32.98 Mbps

Note: This package includes DVD editions of all three titles.

Jacques Rivette

“[Noroît and Merry-Go-Round] might very well have been released; but it so happened that Gaumont, in its capacity as distribution house, didn’t think they would bring in a large audience. Maybe they’re right, from their point of view… But in a sense—and this is a very selfish point of view—I didn’t really do anything to ensure their release. Because the release for instance of Duelle, which was not an easy film to release, was done so clumsily that I would almost have preferred if the film had stayed in its boxes … I was more handicapped, personally, even purely egoistically, by the failure of Duelle than I was by the non-release of Noroît and Merry-Go-Round. It gives one a stronger sense of rejection, of error of course too. No, what’s really bothersome is that nearly all directors are at the mercy of such things…” –Jacques Rivette (Cahiers du Cinema, May-June, 1981)

When considering the illustrious filmmakers that came out of the French New Wave, it is easy for one to overlook Jacques Rivette’s name on a list that includes François Truffaut, Jean-Luc Godard, Claude Chabrol, and Éric Rohmer—but the movement might not even exist without Rivette. Production on Paris Belongs to Us began well before Truffaut, Godard and Chabrol began shooting their films (even if it wasn’t released until 1961).

As a matter of fact, Rivette would often have trouble with the release of his films (as is evidenced by the three films included in this set. In 1975, Jacques Rivette reunited with Out 1 producer, Stéphane Tchal Gadjieff, with the idea of a four-film cycle. He would create a quartet of interconnected films, Scènes de la vie parallèle. Each film would be in a different genre and revolve around two different female characters. Unfortunately, Rivette had a nervous breakdown and succumbed to exhaustion after completing only two of the four films. The second and the third entries of the intended tetralogy were the only films completed: Duelle (une quarantine) sees Rivette in fantasy territory, cross-pollinating Val Lewton, Jean Cocteau, and film noir as the Queen of the Sun (Bulle Ogier) and the Queen of the Night (Juliet Berto) battle over a magical diamond that will allow them to continue their existence in present-day Paris.. Its parallel film, Noroît (une vengeance) is a pirate tale about revenge—and a loose adaptation of The Revenger’s Tragedy. It stars Geraldine Chaplin and Bernadette Lafont.

Rivette was three days into the filming of Marie et Julien—the first film in the series (they were not produced in order)—when he collapsed and the production was shut down. It took a long time for the director to recover and when he was finally able to return to filmmaking, he was able to secure financing to make one of the two remaining films in his series. He decided that if he couldn’t make both films, he wouldn’t make either one of them. Instead, Rivette borrowed some of the elements of Duelle and Noroît and came up with Merry-Go-Round. Joe Dallesandro (The Climber, Trash, Flesh for Frankenstein) and Maria Schneider (Last Tango in Paris, The Passenger) are summoned to Paris, which leads to one of the most surreal and mysterious tales in a career that was dominated by surrealism and mystery.

In his essay about Jacques Rivette, Saul Austerlitz speaks despairingly about this period in the director’s career:

“The next period of Rivette’s career, between Celine and Julie and the renewed triumphs of La Bande des quatre and La Belle Noiseuse (1991), is for the most part disappointing. Duelle (1976) was pictorially lovely, and La Pont du nord (1982) and L’Amour par terre (1984) featured continued reflections on the relationship [between] art and reality, but in comparison to the peaks of Rivette’s filmmaking, these films (and also Noroit [1976], Merry Go Round [1980], and Hurlevent [1985]) are mere footnotes.” -Saul Austerlitz (Senses of Cinema)

Considering that Noroit and Merry Go Round never received a proper release and that Duelle’s release was given extremely problematic and limited distribution, one can understand how a surface level analysis might lead Austerlitz to discount these films. However, he never gives any evidence to support his claims that these films are mere footnotes—and it is our privilege to dispute his claims. These films were perhaps financially unsuccessful, but they are rich and rewarding cinematic experiences that experiment with form, content, and improvisation.

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The Presentation:

5 of 5 Stars

Arrow Academy’s packaging for this release is simple but attractive. Four items are held in a very sturdy box featuring attractive cartoon-like drawings by Ignatius Fitzpatrick. Three of these items are clear cases which hold the Blu-ray and DVD discs. Each case features its own reversible decorative sleeve. The first case houses the discs featuring Duelle (une quarantaine), the second features Noroît (une vengeance), and the third features Merry-Go-Round. The fourth item included in the box is a small perfect-bound book featuring three essays: “Moving Backstage” by Mary M. Wiles, “Rivette x 4” by Jonathan Rosenbaum, Gilbert Adair, and Michael Graham, as well as “Vagabond Charm” by Nick Pinkerton. Each of the essays offers instructive information and analysis that should enhance the viewer’s appreciation of the films in this set.

All of these discs contain menus that are somewhat different than those on most Arrow releases, but they are all attractive and easy to navigate.

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Picture Quality:

4.5 of 5 Stars

All three transfers in this set are the result of digital restoration work which was detailed in liner notes included in the back of the collector’s booklet:

“The original camera negatives were scanned, graded, and restored at 2K resolution. The majority of the picture restoration work was conducted on Diamant Film Restoration systems, with Phoenix and Flame software used on selected sequences.

Picture issues such as dirt, debris, and scratches, torn frames, damaged splices, instability, and mold were all corrected or minimized.

Color grading was carried out using a P3 DCI color space. 35mm original prints were used as a visual reference throughout by the colorist.” –Collector’s Booklet

The result is an extremely strong image that reflects the filmmaker’s intention admirably. Colors are beautifully rendered and almost always impressive while black levels are deep and attractive. There might be some very slight crushing, but it is impossible to determine whether this is the result of the original photography or if this is a minor flaw in the restoration. Either way, this is never distracting to the viewer. Fine detail often impressive and the picture is incredibly crisp. One feels that any softness is a result of the filmmaker’s original footage and this usually suits the aesthetic needs of the film. The high bitrate ensures that each film is presented in the best possible manner and fans of the director will be very appreciative.

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Sound Quality:

4 of 5 Stars

The mono sound mixes are perhaps less impressive than the image transfers, but they were given the same loving treatment.

“The original magnetic reels were too damaged for use, so the soundtracks were sourced from the original optical sound negatives and, in some cases, digital Betacam tapes produced in the 1990s. The majority of this work was carried out by L.E. Diapason in Paris.” –Collector’s Booklet

Duelle and Noroit are French language tracks and Merry Go Round was made with a mixture of English and French. It is difficult to determine the clarity of the French language elements because English speaking ears are likely to miss nuances in the language. However, it certainly seems like the dialogue is clearly represented in these three audio tracks. The jazz-style music in the three films also sounds fantastic, although Merry Go Round is marred somewhat by anomalies such as the occasional dropout and hiss. The track seems to be slightly muffled at times making this the least impressive of the three tracks. Having said this, these issues never distract the viewer or inhibit their enjoyment of the film.

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Special Features:

3.5 of 5 Stars

Scenes from a Parallel Life: Jacques Rivette Remembers – (51:43)  

Scenes from a Parallel Life is without question the most significant supplement included in this package. The first segment was completed on May 4th, 1990 in Paris by Karlheinz Oplustil while the second segment was completed in 2004 by Wilfried Reichart. These two archival interviews with Jacques Rivette find the director discussing his unfinished Scènes de la vie parallèle tetralogy (including the completed Duelle and Noroît) and Merry-Go-Round. It is essential viewing for anyone remotely interested in the director’s work.

Remembering Duelle – (11:00)

Bulle Ogier and Hermine Karagheuz talk about the production of Duelle (1976) and their work on the project. Of the two participants, Bulle Ogier takes the prize for providing the most information. Hermine Karagheuz seems to have fewer memories but discusses Rivette’s vague approach to directing her in the role. It is a relatively short piece, but it does provide some interesting information that should enhance the viewer’s appreciation of the film.

Interview with Jonathan Rosenbaum – (22:25)

Rosenbaum reported from the sets of both Duelle (une quarantaine) and Noroît (une vengeance) and his recollections provide the viewer with some incredible information about the production and some general analysis. This is well worth the viewer’s time.

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Final Words:

This is an important release that showcases three underappreciated film’s by a too-often overlooked voice in the French New Wave. Arrow Academy should be commended for their efforts.

Review by: Devon Powell

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Distributor: Cohen Media Group

Release Date: February 21, 2017

Region: Region A

Length:

Betty – 01:43:45

Torment – 01:42:27

The Swindle – 01:45:44

Video: 1080P (MPEG-4, AVC)

Main Audio: 2.0 French LPCM Audio

Subtitles: English

Ratio: 1.66:1

Bitrate:

Betty – 32.00 Mbps

Torment – 34.99 Mbps

The Swindle – 34.99 Mbps

Notes: This title was previously released in various DVD editions.

claude-chabrol

There is a certain amount of guilt in every individual…” –Claude Chabrol (The Magical Mystery World of Claude Chabrol, Film Quarterly, April 01, 1979)

Claude Chabrol is without a doubt one of the most prolific auteurs to come from the French New Wave and has been often referred to as “the French Hitchcock” due to his tendency towards thrillers exposing mankind’s innate duality. There is usually a dark side lurking just beneath the surface of even his most likable characters.

One understands this comparison. After all, Le Beau Serge (1958) was inspired by Hitchcock’s Shadow of a Doubt (1943), and Chabrol had written fondly of Hitchcock’s work in Cahiers du Cinéma. However, this label ignores some fundamental differences between Chabrol and Hitchcock. The most obvious (and perhaps the most important) of the differences lies in their approach to similar material.

Hitchcock’s thrillers focus on placing the audiences in the mindset of his various characters, and a subjective presentation always ruled the day. Chabrol, on the other hand, seems to have preferred a more objective approach to his material. The French auteur has even gone on record about this fundamental difference in their approach to cinema.

“I don’t consider Lang and Hitchcock from a thematic point of view. I consider them in terms of style, and in this I’m much closer to Lang than to Hitchcock. Hitchcock tries to convey a story subjectively—everything is based on the subjectivity of the character, while Lang seeks the opposite, to objectify all the time. I try to objectify too. It’s characteristic of Hitchcock— even the titles of his films always bear on his personal psychology: Shadow of a Doubt, Suspicion, Psycho… They all have to do with personal, individual things. In Lang, it’s Human Desire—it’s never individual. Intellectually—in terms of pleasure derived—I was more influenced by Hitchcock than by Lang.” –Claude Chabrol (The Magical Mystery World of Claude Chabrol, Film Quarterly, April 01, 1979)

It is best to experience Chabrol’s work on its own terms and there is much to experience. His career spanned over fifty years leaving over fifty films in its wake. Like all directors, the quality of his work varies but nearly every film has something to offer the viewer. Most scholars consider the films made from 1968-1978 to be the director’s best, but there are some notable titles that stand out that weren’t made during what is often described as his golden era.

These three films from late in Chabrol’s career are good examples of this:

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BETTY (1992)

In one of Chabrol’s darkest dramas, Marie Trintignant gives an astonishing performance as Betty, a woman whose alcohol-soaked life has finally fallen to pieces.  She soon falls under the care of an older woman (Stéphane Audran) with a similar background, but her benefactor’s sympathies may be misplaced. The film was made 12 years after Chabrol’s marriage to Stéphane Audran had ended, and her performance in the film is every bit as good as those she gave in their earlier collaborations.

The film’s loose narrative was the result of a conversation that Chabrol had with Georges Simenon wherein the writer asked Chabrol why film directors rely so much on plots. Simenon theorized that because the director could rely on the mysteries behind a human face, that a plot wasn’t particularly essential. Simenon finished writing “Betty” at around that same time, and Chabrol decided to put his theory to the test with a film adaptation of the novel. The result is a decidedly nihilistic journey into the misspent life of a self-destructive alcoholic who has a tendency to destroy those that have the misfortune of entering her life.

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L’ENFER/TORMENT (1994)

Henri-Georges Clouzot tried hard to bring L’Enfer to the screen in 1964, but the production faced numerous production problems. Actors became sick, locations became unavailable, and Clouzot was finally hospitalized after suffering a heart attack. This served as a death blow to the production, and the film was abandoned after three weeks of hard work.

Chabrol utilized Clouzot’s script to bring his own film to the screen, and the final result explores the point at which jealousy and obsession turn to madness.  François Cluzet plays Paul, a young husband who, along with his beautiful wife (Emmanuelle Béart) runs a country hotel.  Paul soon becomes obsessed with his wife’s flirtations, but is it all in his head? The film’s story is told with amazing economy and spirals rapidly into a state of manic sexual frenzy. The result is classic Chabrol.

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THE SWINDLE (1997)

Rien ne va plus (a.k.a. The Swindle) is decidedly lighter and more humorous than the other two features included in the set, but Chabrol’s fingerprints can be seen and felt in every frame of the film. Betty (Isabelle Huppert) and Victor (Michel Serrault) are a couple of small-time con artists looking for the next big game in this psychological thriller tinged with wry humor.  Into their web stumbles a naïve financial courier (François Cluzet) accompanying what might be their biggest score yet.

None of the three films are likely to be included in anyone’s list of top 5 Chabrol films, but fans of the director should at least agree that they are amongst the better films that the director made during this particular phase of his career.

SS01.jpg

The Presentation:

3 of 5 Stars

The Blu-ray discs are protected by the standard Blu-ray case with film related graphics framed by the Cohen Media Group’s “C” logo. Inside the case is an eight-page booklet that features a few photographs and credits. Those who have indulged in some of Cohen’s other Blu-ray releases will know exactly what to expect here.

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The three menus utilize footage from the films with excerpts from Matthieu Chabrol score. They are each quite attractive and intuitive to navigate.

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Picture Quality:

4 of 5 Stars

All three of the new 2K restoration transfers are vast improvements over previous home video transfers, and the improvements go far beyond the significant increase in resolution. The high bitrates also allow for considerable depth, and the three films showcase a level of detail and clarity that will astonish fans who suffered through the previous DVD transfers. Colors are also more vivid and seem to reflect Chabrol’s original intention better than those earlier transfers (which often looked washed out). Better yet, there is an increase in information on all four sides of the frame, which suggests that the earlier DVD transfers were heavily cropped.

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Sounds Quality:

4 of 5 Stars

All three of Cohen’s LPCM soundtracks are clean representations of that film’s original mix. The uncompressed nature of these tracks allows all of the elements to breathe. It is admittedly difficult for these ears to judge the clarity of the French dialogue since I am not a native speaker, but there aren’t any noticeable issues. None of the tracks are particularly dynamic, but they represent Chabrol’s original intentions adequately.

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Special Features:

3 of 5 Stars

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Disc 1 (Betty)

Re-Release Trailer – (01:34)

This particular disc only offers Cohen Media Group’s restoration trailer for the film. It is a less-than-essential addition that makes one wonder why they couldn’t include the original theatrical trailer instead (or as well).

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Disc 2 (Torment)

Feature Length Audio Commentary with Wade Major and Andy Klein

This scholarly commentary track with Wade Major and Andy Klein is surprisingly informative and covers a wide variety of relevant topics. The information here provides fans with some historical information and insight into the film that should enhance their appreciation of the film.

Re-Release Trailer – (01:24)

Cohen Media Group has again seen fit to include their restoration trailer for Torment, and it again feels like including the film’s original theatrical trailer would have been more instructive.

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Disc 3 (The Swindle)

Feature Length Audio Commentary with Wade Major and Andy Klein

Wade Major and Andy Klein return again to supply viewers with another interesting commentary track that again supplies quite a bit of background information on the production.

Many Forms of Love: Interview with François Cluzet – (42:32)

Kent Jones conducts this incredibly interesting 40-minute interview with François Cluzet. The interview is in French and presented with English subtitles which make the process of absorbing the information a bit more challenging, but those who make the effort will be rewarded as Cluzet’s memories about his work with Chabrol and the director’s filmmaking style is both entertaining and enlightening.

Re-Release Trailer – (02:00)

Here we again get Cohen Media Group’s restoration trailer.

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Final Words:

Three of Claude Chabrol’s late career films have arrived on Blu-ray with solid restoration transfers and it is a revelation to see the films in high definition. This release comes highly recommended!

Review by: Devon Powell