Jacques Rivette, French director, screenwriter, and critic (b. 1928)

Jacques Rivette: The Enigmatic Architect of the French New Wave and Experimental Cinema

Jacques Rivette (1 March 1928 – 29 January 2016) was a towering figure in French cinema, renowned as both an influential film director and a provocative film critic. He is most commonly associated with the French New Wave (Nouvelle Vague), a groundbreaking cinematic movement of the late 1950s and 1960s, and the esteemed film magazine Cahiers du Cinéma. Throughout his prolific career, Rivette directed twenty-nine films, crafting a distinctive body of work that challenged conventional narrative structures. His notable films include the complex psychological drama L'amour fou (1969), the epic, rarely seen cinematic event Out 1 (1971), the whimsical and enigmatic fantasy Celine and Julie Go Boating (1974), and the critically acclaimed artistic drama La Belle Noiseuse (1991). Rivette's cinematic signature is deeply rooted in elements such as improvisation, deliberately loose narratives that often explore the nature of performance and reality, and characteristically lengthy running times, which invite viewers into an immersive, unfolding experience.

From Aspiring Filmmaker to Influential Critic: The Genesis of a New Wave Visionary

Rivette's journey into filmmaking began at the tender age of twenty, ignited by the surrealist and poetic cinematic visions of Jean Cocteau, a prominent French artist and filmmaker. This early inspiration propelled Rivette to shoot his first short film. To pursue his passion and immerse himself in the vibrant Parisian film scene, he relocated to the capital. There, he became a fervent regular at Henri Langlois' legendary Cinémathèque Française and various other ciné-clubs. These pivotal gathering spots for film enthusiasts and aspiring artists were instrumental in fostering the intellectual ferment that would define the New Wave. It was within these hallowed halls that Rivette forged crucial friendships and collaborations with future luminaries of the movement, including François Truffaut, Jean-Luc Godard, Éric Rohmer, and Claude Chabrol.

Rivette quickly transitioned from film spectator to an active voice in cinema discourse, embarking on a career in film criticism. In 1953, he was hired by André Bazin, the highly respected co-founder and editor of Cahiers du Cinéma, a magazine that became the intellectual crucible for the French New Wave. In his critical writings, Rivette championed American cinema, particularly admiring the stylistic prowess and thematic depth of genre directors like John Ford, known for his Westerns; Alfred Hitchcock, the master of suspense; and Nicholas Ray, celebrated for his intense melodramas. Conversely, he was fiercely critical of the prevailing mainstream French cinema of the era, which he often viewed as stagnant and overly reliant on literary adaptations rather than innovative cinematic expression. Rivette's articles, known for their sharp intellect and uncompromising stance, were widely admired by his peers and often regarded as the magazine's most incisive and aggressive writings. Among these, his influential 1961 article "On Abjection" (De l'Abjection), which critiqued the moral implications of cinematic representation, and a series of groundbreaking interviews with film directors, co-written with Truffaut, stand out as seminal contributions. Even as his critical voice grew, Rivette continued to hone his directorial craft through short films, including Le Coup de Berger. This particular short is frequently cited by film historians and critics as the very first film of the French New Wave, predating the more widely known feature debuts. Indeed, François Truffaut himself later publicly credited Rivette with being instrumental in the foundational development of the movement's aesthetic and theoretical underpinnings.

The Delayed Debut and a Singular Vision Takes Shape

Despite being the first among his New Wave contemporaries to commence work on a feature film, Rivette's debut, Paris Belongs to Us (Paris Nous Appartient), faced significant production delays and was not released until 1961. By this time, the world had already embraced the groundbreaking first features of his peers, such as Claude Chabrol's Le Beau Serge (1958), François Truffaut's The 400 Blows (1959), and Jean-Luc Godard's Breathless (1960), which had already popularized the New Wave movement globally. This delay meant Rivette's singular vision, while seminal, arrived after the initial wave of international recognition for his colleagues. During the early 1960s, Rivette assumed the prestigious role of editor-in-chief of Cahiers du Cinéma, further cementing his influence within the film community. In this capacity, he notably engaged in a public battle against French censorship regarding his second feature film, The Nun (La Religieuse, 1966), a historical drama that sparked national controversy due to its depiction of religious oppression.

Following these experiences, Rivette embarked on a profound re-evaluation of his cinematic approach, which led to the development of his truly unique and experimental style, first fully realized with L'amour fou (1969). His artistic evolution was significantly shaped by several key influences:

• The Political Turmoil of May '68: The widespread social and political unrest in France in May 1968, which challenged established norms, deeply resonated with Rivette's desire to break free from traditional filmmaking conventions.
• Improvisational Theatre: He drew heavily from the techniques of improvisational theatre, particularly its emphasis on organic development and spontaneous interaction among performers.
• An In-depth Interview with Jean Renoir: A seminal interview he conducted with the legendary French filmmaker Jean Renoir, renowned for his naturalistic and humanist approach, offered Rivette insights into creating dynamic and authentic performances.

Inspired by these elements, Rivette began working with large ensembles of actors, prioritizing extensive character development sessions and allowing events to organically unfold on camera, often without a rigid script. This methodology culminated in the ambitious, thirteen-hour epic Out 1 (1971). Though rarely screened due to its extreme length and unconventional nature, Out 1 has achieved a cult status, widely considered a "Holy Grail" among cinephiles for its sprawling narrative and immersive experimentation. Rivette's films of the 1970s, such as the critically acclaimed Celine and Julie Go Boating, often incorporated elements of fantasy and playful surrealism, generally receiving more immediate recognition and praise. However, Rivette's intense commitment to his art and particularly a challenging period attempting to make four consecutive films, led to a severe nervous breakdown, causing his career to slow considerably for several years.

Later Works, Enduring Partnerships, and Legacy

The early 1980s marked a significant turning point for Rivette, as he forged a pivotal and enduring business partnership with producer Martine Marignac. Marignac would go on to produce all of Rivette's subsequent films, providing the stable foundation that allowed his creative output to flourish once again. This renewed collaboration led to an increase in his filmography, with his work gaining renewed international attention. His 1991 film, La Belle Noiseuse, garnered widespread international praise, including the prestigious Grand Prix at the Cannes Film Festival, further cementing his reputation as a master filmmaker. This period saw Rivette continue to explore themes of art, performance, and the enigmatic nature of human relationships, often through extended takes and meticulous character studies.

Jacques Rivette completed his final film, Around a Small Mountain (36 Vues du Pic Saint-Loup), in 2009, before his eventual retirement from filmmaking. Three years later, it was publicly revealed that he had been diagnosed with Alzheimer's disease. A notoriously private individual regarding his personal life, Rivette was briefly married to photographer and screenwriter Marilù Parolini during the early 1960s. He later married Véronique Manniez, with whom he shared a life away from the public eye. Rivette passed away on January 29, 2016, leaving behind an extraordinary legacy as an uncompromising artist whose work continues to inspire and challenge audiences and filmmakers alike.

Frequently Asked Questions About Jacques Rivette

What made Jacques Rivette unique among French New Wave directors?

Rivette distinguished himself through his pronounced emphasis on improvisation, long takes, and open-ended narratives, often blurring the lines between reality and fiction, and exploring themes of performance, conspiracy, and the creative process in depth. His films frequently challenged viewers with their extended running times and unconventional structures, making them a unique and demanding experience.

What is the significance of Cahiers du Cinéma in Rivette's career?

Cahiers du Cinéma was foundational to Rivette's career. It served as the intellectual crucible where he, along with other New Wave directors, developed the "auteur theory" and articulated their critical perspectives on cinema. Rivette was a prominent film critic for the magazine and later its editor, using the platform to shape critical discourse and advocate for a new approach to filmmaking.

Why is Out 1 considered a "Holy Grail" by cinephiles?

Out 1 is a thirteen-hour epic film that is rarely screened due to its immense length and complex narrative. It is highly experimental, featuring extensive improvisation and a sprawling story involving two theatrical troupes and a mysterious secret society. Its scarcity and ambitious scale have elevated it to a legendary, almost mythical status among dedicated film enthusiasts.

How did Rivette's style evolve after the 1960s?

After the 1960s, particularly influenced by the political climate of May '68 and improvisational theatre, Rivette's style became even more experimental. He moved towards less structured narratives, prioritizing the organic development of characters and events on camera, often involving large ensembles and a focus on the dynamics of group interaction and performance.

What characterized Jacques Rivette's later films?

Rivette's later films, especially those produced in partnership with Martine Marignac, saw an increased output and often received wider international acclaim, such as La Belle Noiseuse. These works continued his explorations of art, creativity, relationships, and the nature of storytelling, often with a more refined and accessible, yet still deeply artistic, sensibility compared to his earlier, more challenging experimental pieces.