From the Chicago Reader (November 25, 2005). — J.R.
Jean Renoir, The Boss: The Direction of Actors
Directed by Jacques Rivette
With Jean Renoir and Michel Simon
In 1966 Jacques Rivette made a three-part TV documentary titled Jean Renoir, Le patron (Jean Renoir, the Boss), and its 90-minute centerpiece has rarely been seen since. “A Portrait of Michel Simon by Jean Renoir, or A Portrait of Jean Renoir by Michel Simon, or The Direction of Actors: Dialogue,” screening on DVD this week at Alliance Francaise, is a missing link that’s key to understanding Rivette’s work. It’s a raw record of the after-dinner talk between one of the world’s greatest directors and his greatest actor, both in their early 70s, punctuated by clips from the five films they worked on together — Tire-au-Flanc (1928), On Purge Bébé (1931), La Chienne (1931), Boudu Saved From Drowning (1932), and Tosca (1941). It also includes occasional remarks by Rivette, the documentary’s producers (Janine Bazin and Andre S. Labarthe), and the stills photographer (the distinguished Henri Cartier-Bresson). The joy Renoir and Simon clearly share at being reunited is complemented by Rivette’s determination to exclude nothing, so that the “direction of actors” applies to him as much as to his two principals, each of whom can be said to be directing the other.… Read more »
Filmmaker of the Decade: The resurgence of the Nouvelle Vague highlights the most disquieting feature of the decade: the critical search for a new European art-house auteur, which seems to have settled on the pious admonisher, Michael Haneke. European cinema has finally found its Stanley Kramer.
—Film Comment, January-February 2010, p. 31 [1/15/10]
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The Tree, the Mayor, and the Media Center
What a pity that one of Eric Rohmer’s best features should have fallen between the cracks and never received a U.S. release. But what a piece of luck that the Museum of Contemporary Art should launch its series “Living Spaces: Films on Architecture” with a swell pair of French features: Jean-Luc Godard’s multilingual Contempt (see separate listing), which features a famous villa designed by writer Curzio Malaparte, and Rohmer’s conservative comedy of manners (1993), receiving its Chicago premiere. A provincial mayor (Pascal Greggory) gets a government grant to build a media center, and the film’s gentle mockery of the socialist politician, some of it articulated by his own mistress (Arielle Dombasle), shows how Rohmer must have influenced Whit Stillman (Metropolitan, The Last Days of Disco). Yet Rohmer exceeds even Stillman’s audacity by turning this wry fable into a musical in its closing minutes; nothing he does here is predictable, yet in retrospect it all seems logical and balanced. With Fabrice Luchini; a 35-millimeter print in stereo will be shown. Museum of Contemporary Art, 220 E. Chicago, Sunday, January 16, 4:00, 312-397-4010… Read more »