Jacques Rivette, French director, screenwriter, and critic (d. 2016)

Jacques Rivette (1 March 1928 – 29 January 2016) stood as a towering figure in French cinema, renowned both as a prolific film director and an incisive critic. His name is inextricably linked with the revolutionary French New Wave movement and the influential film magazine Cahiers du Cinéma.

Throughout his distinguished career, Rivette crafted twenty-nine films, each bearing his distinctive artistic signature. Among his most celebrated works are the experimental L'amour fou (1969), the epic Out 1 (1971), the enchanting Celine and Julie Go Boating (1974), and the internationally acclaimed La Belle Noiseuse (1991). His unique cinematic vision was characterized by a profound embrace of improvisation, narratives that often resisted conventional structures, and remarkably lengthy running times that invited audiences to immerse themselves fully in his worlds.

The Formative Years and the Birth of a Movement

Inspired by the visionary work of Jean Cocteau, a young Jacques Rivette embarked on his filmmaking journey, directing his very first short film at the age of twenty. His ambition soon led him to Paris, a vibrant hub where he immersed himself in the rich cinematic culture, frequently attending Henri Langlois' legendary Cinémathèque Française and various ciné-clubs. It was within these hallowed halls that he forged pivotal connections, encountering future luminaries of the French New Wave such as François Truffaut, Jean-Luc Godard, Éric Rohmer, and Claude Chabrol.

Rivette's intellectual prowess quickly extended to film criticism. He joined the esteemed ranks of Cahiers du Cinéma in 1953, recruited by its founder, André Bazin. In his critical writings, Rivette championed American cinema, particularly admiring the stylistic mastery of genre directors like John Ford, Alfred Hitchcock, and Nicholas Ray. Conversely, he was a vocal and often sharp critic of the prevailing trends in mainstream French cinema of his era. His articles, celebrated by his peers, were regarded as some of the magazine's most potent and challenging pieces, notably his influential 1961 essay "On Abjection" and a significant series of interviews with prominent film directors, co-authored with Truffaut. While contributing to critical discourse, Rivette also continued his short film work. His film Le Coup de Berger is frequently cited as a foundational piece, often regarded as the very first film of the New Wave itself, a credit later explicitly bestowed upon him by François Truffaut for his pivotal role in developing the movement.

A Cinematic Evolution and Personal Challenges

Despite being the first among the burgeoning New Wave directors to commence work on a feature film, Rivette's Paris Belongs to Us faced a protracted journey to the screen, finally premiering in 1961. By this time, his contemporaries Chabrol, Truffaut, and Godard had already released their own groundbreaking first features, solidifying the movement's global recognition. During the early 1960s, Rivette assumed the significant role of editor at Cahiers du Cinéma, a period that saw him publicly confront French censorship over his controversial second feature, The Nun (1966), a battle that underscored his commitment to artistic freedom.

Following this period, Rivette embarked on a profound re-evaluation of his artistic direction, culminating in the development of a truly distinctive cinematic style showcased in L'amour fou. This shift was deeply informed by the political fervor of May 1968, his engagement with improvisational theatre, and a revealing in-depth interview with the legendary filmmaker Jean Renoir. Embracing a more collaborative and organic approach, Rivette began working with large ensembles of actors, allowing characters and narratives to evolve spontaneously on camera. This experimental methodology famously led to the monumental, thirteen-hour epic Out 1, a film that, though rarely screened, remains a revered "Holy Grail" for dedicated cinephiles worldwide. His films from the 1970s, such as the widely praised Celine and Julie Go Boating, often wove elements of fantasy into their intricate tapestries, garnering increased critical appreciation. However, a period of intense creative output, involving attempts to make four consecutive films, ultimately led to a nervous breakdown, causing his prolific career to slow considerably for several years.

Later Works, Retirement, and Legacy

The early 1980s marked a significant turning point in Rivette's career, as he forged a crucial business partnership with producer Martine Marignac. This collaboration proved highly fruitful, with Marignac producing all of his subsequent films, ushering in a period of renewed productivity. His later work saw continued critical success, most notably with La Belle Noiseuse, which garnered widespread international praise. Rivette officially retired from filmmaking after completing Around a Small Mountain in 2009. Three years later, it was publicly disclosed that he had been diagnosed with Alzheimer's disease, a private struggle for a filmmaker who had always maintained a very private personal life. While details of his private life were scarce, it is known that he was briefly married to photographer and screenwriter Marilù Parolini during the early 1960s, and later to Véronique Manniez.

Frequently Asked Questions About Jacques Rivette

Who was Jacques Rivette?

Jacques Rivette was a highly influential French film director and film critic, best known for his association with the French New Wave movement and the magazine Cahiers du Cinéma.

When was Jacques Rivette active as a filmmaker?

Rivette began making short films in the late 1940s and his first feature film, Paris Belongs to Us, was released in 1961. He continued to direct until his retirement in 2009, with his final film being Around a Small Mountain.

What is Jacques Rivette famous for?

He is famous for his experimental approach to filmmaking, characterized by improvisation, loose narratives, and long running times. Key films include L'amour fou, Out 1, Celine and Julie Go Boating, and La Belle Noiseuse. He was also a respected film critic and editor for Cahiers du Cinéma.

What was Rivette's role in the French New Wave?

Rivette was a foundational figure in the French New Wave. As a critic for Cahiers du Cinéma, he helped articulate the movement's principles. He was among the first to direct a New Wave feature film (Paris Belongs to Us), and his early short film, Le Coup de Berger, is often considered the very first New Wave film. François Truffaut credited him with developing the movement.

What were some distinctive elements of Jacques Rivette's films?

Rivette's films often featured extensive improvisation, open-ended or labyrinthine plots, and famously long running times (e.g., the thirteen-hour Out 1). He also incorporated elements of fantasy and explored themes of theatre, conspiracy, and the interplay between reality and illusion.