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Abstract
This essay sets out from the premise that the films of Jacques Rivette
merit sustained reconsideration in the framework provided by Deleuzes
Cinema 2: The Time-Image. In particular it explores the concepts of the
powers of the false and fabulation as ways of engaging with Rivettes
cinematic oeuvre, with a particular focus on his Paris-set films. On this
basis the article seeks to add to the readings undertaken by Deleuze
himself and, in the light of Rivettes cine-thinking, to examine in tandem
both films to which Deleuze directly responded, such as Le Pont du nord,
and later post-Deleuze renegotiations of the city such as Secret dfense.
Perhaps the highest object of art is to bring into play simultaneously all
these repetitions [physical, psychic, metaphysical, ontological], with their
differences in kind and rhythm, their respective displacements and disguises,
their divergences and decenterings, to embed them in one another and to
envelop one or the other in illusions the effect of which varies in each case.
(Deleuze 1994: 293)7
the end of the film a Max exchanges martial arts kicks with Baptiste
(Pascale Ogier).
Within a classic narrative denouement quest, evasion, confrontation
the presence of the antagonists in the same frame suggests the
convention of a conflict bringing to potential conclusion the problematic
posed by the film up to and including this point. But within this moment
of framing another frame intervenes. As the frame which accompanies
our viewing of the film is traversed by celluloid and is veering towards
resolution (i.e. the end of the film approaches), it is transgressed and
multiplied by the emergence of the crystalline effect of another frame
(a viewfinder). In the second frame, or in the partition of the moment,
the viewer sees, simultaneously, the Max and Baptiste engaged in combat
and one actor (playing a Max in the film) and another (Ogier) practising
the moves to be employed in that (simulated) sequence. Not one after
another, or even alongside one another: to what is at work here one
cannot respond now we see that it has been a film within a film all
along. The moment and the partition of that moment (the frame and
the deframing) are given contemporaneously and disjunctively. While
this rehearsal is not theatrical rehearsal a concern in several other films
by Rivette it nonetheless performs here a related function to theatrical
rehearsal, which, in the hands of Rivette, offers a paradoxical index
of what cinema cannot itself achieve: the inscription of the contingent
in every repetition. In the performances of Pirandello in Va Savoir, for
example, external contingencies determine elements of the performance
every night. The performance in the space behind the proscenium arch
differs depending on who is in the audience and visible to the actress.
Cinema screening, by contrast, is always repeated as the same. Mnils
claim that the theatre (including the idea of rehearsal in particular)
of Rivettian cinema exists only as a function of a strictly speaking
cinematographic project (Mnil 1998: 67) is all the more evident in
Le Pont du nord.
In ending with this conjoining of rehearsal and filming Le Pont du
nord operates a paradoxical closure and opening, script (plot) and
conspiracy (complot) given together in what Deleuze would call an
inclusive disjunction. For Deleuze this is an example of the crystal
image, made possible by the break with the modus operandi of classical
cinema: The crystal-image is, then, the point of indiscernibility of the
two distinct images, the actual and the virtual, while what we see in
the crystal is time itself, a bit of time in a pure state (Deleuze 1989:
82). As Youssef Ishaghpour writes of the ending: La fin du Le Pont
du nord est comme le chiffre du cinma de Rivette: La fiction donne
Paris and its Doubles: Deleuze/Rivette 197
comme fiction devant la camra (The end of Le Pont du nord is like the
key to Rivettes cinema: Fiction given as fiction in front of the camera)
(Ishaghpour 1986: 211).
Within the space constructed in Rivettes films one is concerned less
with a spent time which can be exchanged and cancelled in favour
of closure and resolution than with dure itself. His films seem apt
illustrations of Deleuzes discussion:
This is borne out in La Bande des quatre which divides its scenes by
means of shots of metro trains serving as blocks of sonic and visual
affect. They intervene; they are between scenes, at once cutting across
and conjoining. Theirs is a trajectory separated from departure or
destination; they are intermediate states of dislocation and dis-locution.
As Deleuze writes, apropos Leibnizs Monadology, ultimately, despite
the conservative intentions of its author, it concerns a world of captures
rather than of closures (Deleuze 1993: 81). In the films of Rivette it
can be argued that one witnesses molecular conspiracy (capture) staged
as the subversion of a global encompassing molar conspiracy (closure).
Jonathan Rosenbaum attributes the Lang influence, with its strong theme
of conspiracy, which returns with considerable force in Secret dfense,
to the long-standing admiration inaugurated in Rivettes 1957 review
of Beyond a Reasonable Doubt for Cahiers du cinma (Rosenbaum
1983: 165). For some commentators this theme is synonymous with an
integral aspect of modernity. As Hlne Frappat points out however:
[L]a modernit consiste inventer des complots dou toute intention a
disparu (Modernity consists in inventing conspiracies from which all
intention has disappeared) (Frappat 2001: 213). It is the fact that in his
presentation of conspiracies, in Paris nous appartient and Le Pont du
nord for example, there seems to be both a lack of any intent on the
part of the conspirators as well as a lack of any human intentionality
to ground and sustain them, that makes Rivettes most pervasive genre
coordinate so lacking in anchorage. In place of this Rivette creates what
has been called a cosmological perspective on conspiracy. In seeming to
locate itself upon this genre coordinate Rivettes oeuvre indicates all the
more its slippage from all coordinates, including those imposed upon
it in the name of interpretation. In place of resolution or of Hegelian
198 Garin Dowd
for their meaning but rather for their materiality, as events and not as
meanings (Rivette [1973] in Rosenbaum 1977: 52).
In interview with Serge Daney in the film Le Veilleur (directed by
Claire Denis), Rivette reveals what it is that fascinates him about actors
such as Jean-Pierre Laud. They manage, he argues, to act with their
entire bodies. This is why Rivette cannot restrict the actors body to
close-ups of the privileged part of the fragmented body, the face (as he
explains in the film). He needs to have the entire body, not the signifying,
metonymic fragment. Rivettes cinema requires a specific type of actor
as well as a new approach to them as co-creators. Bulle Ogier and Juliet
Berto created their own roles through part improvisation and writing in
films in which, as has been said of Out 1, good and bad acting ceased
to matter, what was at stake being behaviours Geraldine Chaplin
described to Jonathan Rosenbaum the rigours of working with Rivette
on Norot, while recently in an interview on the DVD release of Histoire
de Marie et Julien Emmanuelle Bart describes the particular challenges
working with him continues to present to actors. His approach has
counterparts in cinema and of course theatre. While the experimental
fervour of the post-1968 era which characterises his work in the 1970s
may no longer be in evidence, there remain, in films such as Haut bas
fragile (1995) and Va Savoir, in different ways and to different degrees,
elements deriving from the period. Sedofskys account retains its force:
Like Artaud, Rivette has created a non-theological space (Derrida)
which admits the tyranny of neither text nor auteur. It is a space in which
the actors grammar of gesture and voice may play creatively, without
impediment (Sedofsky 1974: 19).
Notes
1. Considering that Deleuze devoted an essay to the director, Anglophone
commentary on Deleuzes writings on cinema has to date been relatively silent
with regard to Rivette. In a French context, perhaps not surprisingly, there have
been more frequent critical conjunctions (see for example Chauderlot 2001,
Coreau 1998 and Mnil 1998).
2. Deleuzes 1989 Cahiers essay on Rivettes La Bande des quatre (1988) provides
confirmation of the importance of the director to his understanding of cinema
(see Deleuze 2006).
3. The admiration is emphasised in Labcdaire de Gilles Deleuze.
4. Of course several of these films were made after the completion of Deleuzes
book.
5. Rivette had the cast watch Mark Robsons Val Lewton-produced The Seventh
Victim (1944), a film concerning the elimination of traitors and witnesses in a
narrative about devil worship in Manhattans East Village.
6. See Alliez (1996b: preface by Deleuze) on conducts of time, with Kant, for
example, as the first philosopher of cities (Alliez 1996a: 231) and Stengers
(1997: 177212) on the clock and the development of urban time.
7. At the end of the paragraph (Deleuze 1994: 294) Deleuze indicates the extent
to which his thinking about this matter was already turning towards cinema
(Lanne dernire Marienbad in particular).
8. Deleuzes emphasis on other aspects of Rivette is such that he is not mentioned
in the Powers of the False chapter.
9. On conspiracy see Watts (2005).
10. The essay revisits concepts developed in Cinema 2 which was written before
La bande des quatre was released. The attitude of the body is like a time-
image, the one which puts the before and after in the body, the series of
time; but the gest is already a different time-image, the order or organisation
of time, the simultaneity of its peaks, the coexistence of its sheets (Deleuze
1989: 195). Rivette there is one of the directors discussed in the context of
the Brechtian idea of the gest [as] the development of attitudes themselves . . . a
direct theatricalisation of bodies . . . independently of any role (Deleuze 1989:
192). The film takes further the ideas developed in the films Deleuze does discuss,
namely Lamour par terre and Lamour fou (Deleuze 1989: 1934).
11. Duelle is a film which subsequent relative inaccessibility has rendered more
peripheral in Rivette commentary than Deleuze might have imagined at the time
he was writing. The fate of Norot and Merry Go Round rendered them even less
accessible (until its release on DVD in 2006, Norot had only received isolated
festival screenings since its completion in 1976).
12. Deleuzes theory of virtuality traverses much of his work. The crucial distinction
between the virtual and the possible however appears in Deleuze (1988:
96103).
13. Utopia isnt the right concept: its more a question of a fabulation (Deleuze
1995: 174). He goes on to reiterate the assertion that we ought to take up
Bergsons concept and make it political. Zepke suggests that the artistic power
204 Garin Dowd
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Filmography
Paris nous appartient/Paris Belongs to us, directed by Jacques Rivette. France:
Claude Chabrol-AJYM, Franois Truffaut-Les Films du Carrosse, 1961.
LAmour fou, directed by Jacques Rivette. France: Cocinor-Marceau, Sogexportfilm-
Georges de Beauregard, 1969.
Out 1: Noli me tangere, directed by Jacques Rivette. France: Sunchild Productions,
1971.
Out 1: Spectre, directed by Jacques Rivette. France: Sunchild Productions, 1974.
Cline et Julie vont en bateau, directed by Jacques Rivette. France: Les Films du
Losange, 1974.
Duelle, directed by Jacques Rivette. France: Sunchild Productions, 1976.
Norot, directed by Jacques Rivette. France: Sunchild Productions, INA, Productions
Jacques Roitfield, 1976.
Le Pont du nord, directed by Jacques Rivette. France: Les Films du Losange,
Margaret Menegoz, Lyric International, La Ccilia, 1980.
La Bande des quatre, directed by Jacques Rivette. France: Pierre Grise Productions,
Limbo Film, La Sept, 1989.
Secret dfense, directed by Jacques Rivette. France/Switzerland/Italy: Pierre Grise
Productions, La SEPT cinma, T & G Film AG, Alia Films, 1998.
Va Savoir, directed by Jacques Rivette. France/Italy/Germany: Pierre Grise
Productions, 2001
Histoire de Marie et Julien, directed by Jacques Rivette. France/Italy: Pierre Grise
Productions, 2003.
DOI: 10.3366/E1750224109000580