Last night I had a chance to see the last performance of Jacques Rivette , former editor of the magazine Cahiers du Cinema since 1963 and one of the main founders and drivers of the Nouvelle Vague with Jean-Luc Godard , Eric Rohmer and Claude Chabrol .
THE IMPORTANCE OF TITLES .
The title that comes into our rooms Valencianas (only in theaters Babel and a delay of two years since it was presented at the Venice Film Festival in 2009), Last Summer , refers to what could be the last tour of a small circus before its dissolution, tour during which the plot unfolds. Is this a title, resulting in excessive trading, has very little to do with the original 36 vues du Pic Saint-Loup (36 views of the Pic Saint-Loup). The no similarity between the two titles led me to inquire about the Pico Saint-Loup to find its relationship with the film and try to find out the reasons for the director to choose, which of course can not be casual. Thanks
Internet research does not take long and allows me to find that Pic Saint-Loup is the name of a mountain in the French region of Languedoc on which there is a beautiful medieval legend.
The legend tells how three brothers named Clair, Guiral and Loup, rural inhabitants of this region, fell in love with the beautiful Bertrade, the daughter of the king. Before the princesa pudiese elegir a uno de los pretendientes éstos tuvieron que partir a las cruzadas y, a su regreso, años después, descubren que la princesa a muerto.
Abrumados por la tristeza los tres hermanos deciden dedicar toda su vida al duelo por la muerte de su amada y, convirtiéndose en hermitaños, se instalan cada uno de ellos en lo alto de un monte de la región. Cada uno de ellos encendió una hoguera en lo alto de su monte y las hogueras iluminaron la noche durante años consumiéndose muy lentamente.
La hoguera de Loup, alimentada por la melancolía y el persistente recuerdo de su amada fue la última en consumirse completamente. Desde ese día el monte pasó a ser conocido as the Pic Saint-Loup. Jacques Rivette
shooting and decides to spend his film making at the foot of this mountain is not by chance but because the story told in the film is the story, full of melancholy, of a princess trapped in the match at that has engulfed his life since the death of his beloved fifteen years ago.
The English title is not only in trade surplus but is misleading in that the theme of the film is a nostalgic view into a way of life, the circus of provincial endangered but as the gloom and the weight of a secret can transform life into an ongoing duel of which one must be rescued.
RIVETTO and melancholy.
Melancholy from a secret is the common theme of virtually all of the Rivette film who used to use all the footage and staged to highlight, so complex, the existence of such secret . Secret, sometimes not being disclosed and the process of search for it in time and the pleasure that this search has on the viewer the main engine of its achievements.
This time his particular way of shooting, very close to the theatrical, in which once again shows his mastery of the staging and in the long static shots, light play and improvisation in which the actors break with traditional film narrative to go directly to the camera no longer puts both serving to delay the search for the reasons that keep the hero prisoner of a match that lasted fifteen years and which is unable to break free by itself. On this occasion the French director puts his style, which remains faithful to the service of a quick search of the solution. A quick catharsis to free the princess.
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After viewing this latest piece of Rivette one gets the feeling that should emphasize the word last since last this work has, for several reasons, the taste of a cinematic testament.
Jacques Rivette, director of 83 years and poor health, again, in this film, close to the stage in which in 1991 rolled The Beautiful Liar and makes counting Jane Birkin, with whom he worked in that movie, and Sergio Castellitto , with who also worked on Go to Know in 2001, both admirers of the director confessed France. And again to show us a protagonist who, in the words of his father, is dead for the circus. So we have a dead character who moves into a dying show based on the absurd number of unfunny clowns who act in front of a sparse crowd that could well be made of wax mannequins or dolls. A scene in the movie where the real and the phantasmagoric blend and in which all bode a farewell, even the short duration of the movie for what this director or that we are accustomed to great start which pays tribute to silent movie primeval.
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