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    3. Paris Belongs to Us (1961) [Repost]

    Paris Belongs to Us (1961) [Repost]

    Posted By: Someonelse
    Date: 23 Jul 2012 02:10:00
    Paris Belongs to Us (1961) [Repost]

    Paris nous Appartient (1961)
    A Film by Jacques Rivette
    DVD9 | ISO+MDS | PAL 4:3 | Artwork | 02:15:44 | 7,68 Gb
    Audio: French AC3 2.0 @ 192 Kbps | Subtitles: English
    Genre: Art-house

    Anne, a student in Paris, becomes involved with a group of her brother's arty friends and gets sucked into a mystery involving Philip, an expatriate American escaping McCarthyism; Terry, a self-destructive femme fatale; theatre director Gerard; and Juan, a Spanish activist who apparently committed suicide, but was he murdered? Philip warns Anne that the forces that killed Juan will soon do the same to Gerard, who is struggling to rehearse Shakespeare's Pericles. Anne takes a part in the play in an attempt to help him and also discover why Juan died.

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    BFI
    DVDBeaver

    Paris Belongs to Us (1961) [Repost]

    Paris Belongs to Us is technically the inaugural feature of the French New Wave, conceived in 1957 by Jacques Rivette and his co-scenarist Jean Gruault, filmed in snippets from 1958 - 1960, and only released stateside several years after the one-two punch of François Truffaut's The 400 Blows (which features footage from the unfinished film in one of its scenes) and Jean-Luc Godard's Breathless.

    Paris Belongs to Us (1961) [Repost]

    It's a decidedly unfriendly and depressive concoction: a black-and-white travelogue through Paris's bohemian underground, viewed primarily through the eyes of Anne Goupil (Betty Schneider), a fresh-faced student who finds herself enveloped in and practically destroyed by a powerful, though seemingly nonexistent conspiracy. Viewed at some remove from the countercultural forces that no doubt inspired its creation, Paris Belongs to Us plays exceedingly turgid in the moment, as its many characters orbit in and out of each others' lives, spicing up their monotonous existence with make-believe complots that eventually lose their fictional luster, to the point that the real and the imagined become indistinguishable.

    Paris Belongs to Us (1961) [Repost]

    The unexplained disappearance of a neighbor and the suicide of a musician (both actions tellingly happen off-screen) are the inciting incidents that propel Anne through Rivette's Fibonacci-spiraled mise-en-scène (which incorporates, among other things, a play-within-production of William Shakespeare's Pericles, a film club presentation of the Babel sequence from Fritz Lang's Metropolis, and a hilariously lascivious sidewalk café cameo by Godard himself), though we never feel her paranoia so much as observe it at a distinct distance.

    Paris Belongs to Us (1961) [Repost]

    More than anything, the film seems a hermetic time capsule from a lost world, with Anne acting as a microcosmic stand-in for the Nouvelle Vague's own ideals and aspirations. Her desire and need to effect change, so strong at the film's outset, is ultimately dulled and defeated by its end, fulfilling the ominous pronouncements of the opening credits epigraph credited to Charles Peguy: "Paris belongs to no one." In this way, Rivette was perhaps more of a prognosticator than he realized, anticipating the downfall of the very movement he was involved in before it had effectively begun.
    Slant Magazine
    Paris Belongs to Us (1961) [Repost]

    Schneider, after overhearing a discussion on the suicide of a young Spaniard, is compelled to learn why the youth's life ended so tragically. She gets involved with Esposito, a theater director, and takes a part in his production of Shakespeare's "Pericles." She becomes worried for Esposito's life when he tells her that the Spaniard was part of a worldwide conspiracy and that he is targeted for murder by the same organization. She also meets Crohem, an American victim of McCarthyism, who is responsible for informing the Spaniard and Esposito of the organization. Eventually it is revealed that Crohem made the whole thing up, but not before Esposito's paranoia gets the better of him and he commits suicide.

    Paris Belongs to Us (1961) [Repost]

    Along with Claude Chabrol's LE BEAU SERGE, this first feature by Jacques Rivette kindled the flame that became known as the French New Wave. Production began in the early summer of 1958 with money borrowed from the magazine Rivette (and his New Wave counterparts) worked for, Cahiers du Cinema. Technicians, actors, and lab fees were all on credit, with no money exchanged until the film's release in 1960. Without so much as a car, Rivette and his entourage of film enthusiasts worked whenever they could, spending Sundays trying to raise enough money to begin filming again on Mondays. With the help of Chabrol and Truffaut, whose first films were already receiving acclaim at the Cannes Film Festival, PARIS was finally released–a stepping stone toward French cinema's rebirth.
    TV Guide
    Paris Belongs to Us (1961) [Repost]

    Special Features:
    - New filmed introduction by Jonathan Romney on Rivette and Paris Nous Appartient
    - Le Coup du Berger (Rivette, 1957, 27 mins, English subtitles)
    - Illustrated booklet with a review by Tom Milne; feature by Louis Marcorelles, originally published in Sight & Sound; director biography

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