The Story of Marie and Julien

Perhaps a few of the above comments mights be useful if they were sure to not do these two things:

1.Admit up front that the only reason you attended a screening was because you always wanted to be seen at a film festival and because you happen to have a thing for an actress (what does her attire at the festival have to do with the film at all?)

2.Admit that you didn't even make the effort to sit through the entire film.

By doing these two things you immediately discredit yourself as a critic (casual or professional, it does not matter) and as a serious movie goer. Why don't you save such trivial opinions for Spielberg and Cameron movies, where people might care? When viewing a film from a director with Rivette's past, one can't expect light fair at a lightening pace. I suppose you expect an action film from Godard or Tarkovsky too? I will myself admit that it was not a fantastic film, but the reasons for which these others so unjustly scrutinize the film are the exact reasons that make it interesting. I personally could have watched Julien toy with his clocks and his cat "Nevermore" and Marie 'set up house' the entire two and a half hours. The territory that this film explores is the relationship between two individuals and how their own consciousness relates to the cinematic narrative through these relationships. Granted this topic of "the abyss" between two lovers or siblings is common fair in high-culture drama, yet it becomes nonetheless intriguing for the patient spectator in that it eventually dives into the terrain of low-culture genre film. The subject chosen by M. Rivette is expertly relayed through painstaking detail and precision, something absolutely necessary to it, and something that can only be accomplished after a lifelong devotion to the cinematic medium. If he had done this movie 30 years ago when he first started filming it, before giving it up until now--thats right folks and mindless commentators, 25 years before the movies its said to have ripped off--I'm not sure he would have created a similar film, one infused with a comparable, patient interrogation of human relationships and suffused with the same amount of warm compassion and empathy for his characters.

Whether one thinks it more appropriate to place the onus on a filmmaker or on the individual viewer, the truth is that any given film generally has just one chance to make a good impression. Rewatching our favorites is one thing; very rarely do we revisit something that we haven't seen for a long time, and see how it comes across many years later. More often, we'll say "maybe I should give it another chance some time," but we never do, because there are so many other titles to occupy ourselves with. Complicating matters further is that sometimes a picture rather requires one to be in a particular headspace to best appreciate it, and if one is not, the odds of that picture meeting with our especial favor are lesser still. I say all this because to whatever extent I like 'Histoire de Marie et Julien' - and I do like it, very much - I can't help but think that I've done it a disservice. To watch, let alone to read up on the history of the screenplay and the production, it's obvious that Jacques Rivette poured a tremendous amount of hard work and intelligence into the project: themes, motifs, bigger and grander ideas. Maybe it's just me (it probably is), and whether in the moment I sat to watch or perhaps more broadly maybe I'm just not on the same wavelength, but I don't know how much these come across, or how present they truly are in the end product, or indeed how important. If they're not important at all to one's appreciation of the whole, then it seems as though this movie is inherently incomplete in some esoteric way.

This much is certain: compared to what is surely Rivette's biggest claim to fame, 'La belle noiseuse,' this is far more abstruse in its artistic machinations. Here he and his co-writers blend together drama, romance, and mystery with the supernatural, a sad and ultimately kind of depressing story of love, tragedy, loss, and farewells. Unlike that picture of twelve years prior, in which four hours passed incredibly smoothly and beautifully, these two and one-half hours are most definitely felt as the narrative crawls sideways as much as forward. Down to the last few spoken lines of dialogue I don't know if everything Rivette and his collaborates intended is fully and perfectly communicated, yet be that as it may, and even with the length in mind, by and large I think this is splendidly well done. With or without the less evident intentions I think the storytelling could have been tightened, but regardless there's welcome complexity and lush detail in the writing of the characters, scene writing, and overall plot, and the dialogue tends to simply add another layer of flourish and ingenuity. Similarly, one readily discerns the utmost finesse in William Lubtchansky's cinematography, with more discrete emphasis on lighting than one customarily sees in modern cinema. Not to be counted out, the production design, art direction, costume design, and hair and makeup are all terrific, very easy on the eyes as they lend to the artful airs about the proceedings. In this instance I think the cast are a little less noteworthy than the otherwise construction, but all perform admirably, and of everyone in front of the camera Emmanuelle Béart definitely stands out most; her role requires splits between charged emotions and gratifying nuance, and she navigates that space most deftly.

As suggested, I think 'Histoire de Marie et Julien' is something I'd appreciate more if I sat for it a second time, and perhaps with a more focused mind. I recognize that there are doubtlessly subtleties here that I'm just not picking up on - or at least, I hope that's the case, because the alternative is that I'm giving Rivette too much credit. Some of my favorite movies share far more in common with this than not; this is an example that just doesn't meet with the same success for me. Even so, I did enjoy this feature, and I think it deserves a look, even if it's less than totally impeccable. Given the pointedly subdued tone this maintains, and the storytelling that's less than completely straightforward, I can understand how this won't appeal to everyone, and I'd suggest it most for those who are already receptive to the more arthouse side of the medium. Yet while the film is no great revelation by any means, I think it's well done even as I see it, and other attentive viewers will unquestionably get still more out of the experience. Temper your expectations and don't go out of your way for 'Histoire de Marie et Julien,' but if you do have the opportunity to watch, it's worth exploring.

Why do certain people that go to the movies think that (their) being bored is important for the destiny of the world? Why do they keep punching us with their problems of boredom?

Can't they understand that, to share something with the others, it's important to have some ideas (just a small one, please...) about the movie itself? Do they think that when they proclaim their boredom they are giving to the world some kind of undisputed law?

Is it so difficult to understand that the Rivette work cannot be understood by the rules of mediocre entertainment? Is it so painful to address the simple idea that Rivette keeps filming the mystery of love? And that he doesn't want to bore us with the vulgar ideas of a vulgar TV-movie?

This is the kind of film in which we are invited to indulge the director in return for the reward of fine performances/lush photography/gorgeous sets/haunting score, perm any three from four. In this case our indulgence is a tacit agreement not to wonder out loud just WHERE Julian gets the commissions to work on a series of outsize clocks in his home/workshop, or how he stumbled on the material with which he is blackmailing Madame X or indeed how anybody in the plot made the acquaintance of anyone else. Apart from Madame X and Marie he appears to have no other contact with anyone despite being middle aged and apparently well established in his large house/workshop. Trying to write a story like this must be like trying to drink from a collander so we badly need the compensation of the aforesaid fine acting, camera-work, score, etc. To some extent they are present and correct but I doubt they will be enough for the majority of viewers.

The thing that has always been interesting about Rivette is the different sense of time that he creates through a more slowly developed story, spanning 2-4 hours on screen. Then when a real development comes along, it's such a surprise and pleasure (dare I say "as in real life?"). MARIE AND JULIEN has a mysterious story, but it's not suspenseful--you can guess what's going on fairly early into the film. Pleasure lies in getting to know the characters, watching Marie arrange a room, watching Julien take a clock apart and put it back together--and having your suspicions about the story verified. It's all perhaps more like reading a novel than watching a normal Hollywood film characterized by a tightly formulaic, time-bound 90-minute plot. And it's no accident that Julien is a clock repairman: that big clock he dismantles seems to stand for the very method and structure, and sense of duration, of this wonderful movie. A clock's ticking is supposed to be even, "in beat," but it's interesting too when the ticking is uneven!