From the November-December 1976 Film Comment and exhumed now mainly as a telling time capsule of this period in the world of English film criticism. I’m still indebted to Laura Mulvey for introducing me to Zoo, or Letters Not About Love in her own list, which has subsequently become a touchstone for me.
For illustrations, I’ve selected the first film cited in each list whenever possible, even when there’s no particular significance to the order (when I couldn’t come up with one for The Nightcleaners, at least until Ehsan Khoshbakht — see below — furnished me with production stills or framegrabs, I accorded the late Claire Johnston two others)….Because of a scanning error and oversight, I originally had to omit two entries, those of David Pirie and Paul Willemen, which are now included.) In the remaining 27, I’ve corrected a few typos for the first time, and accidentally introduced a few others, but thanks to the generous efforts of my good friend and best proofreader, Ehsan Khoshbakht, on December 4, 2014 (as well as Adrian Martin three days later, who caught a few more glitches), these are now corrected, and five additional illustrations (again, courtesy of Ehsan) have been added.… Read more »
A program note written for the London Film Festival in 1976, held at the National Film Theatre in November. On November 17, at the first of two screenings, Duelle appeared as a double bill with the world premiere of Noroît, which was shown immediately afterwards, with Rivette in attendance. –- J.R.
Labelled the second feature in [Jacques] Rivette’s four-part Scènes de la Vie Parallèle, Duelle is in fact the first to be completed. Like all the films in the projected series, it covers the ‘Carnival’ period between the last new moon of winter and the first full moon of spring: the only time when goddesses can appear on earth and have commerce with mortals. These goddesses are split between moon ghosts and sun fairies; in Duelle, we find a ghost (Juliet Berto) and a fairy (Bulle Ogier) competing for possession of a diamond known as the Fairy Godmother which can keep them on earth past their allotted forty days.With a non-existent word (the female form of a masculine noun) as title and an imaginary muth as starting-point, Duelle deliberately defines itself through contradictions and clashes, maintaining a perpetual disequilibrium of elements that equally flirts with and refuses the comforting balances of ‘classic’ narrative.… Read more »
From Monthly Film Bulletin, November 1976, Vol. 43, No. 514. — J.R.
Ultima Donna, L’ (The Last Woman)
Director : Marco Ferreri
Cert—X. dist–Columbia.Warner. p.c—Flaminia Produzioni Cinema (Rome)/Les Productions Jacques Roitfeld (Paris). p—Edmondo Amati. p. managers–Maurizio Amiti, Roberto .Giussani. asst. d—Enrique Bergier, Bernard Grenet. sc–Marco Ferreri, Rafael Azcona, Dante Antelli. story–Marco Ferreri. collaboration on dial–Noël Simsolo. ph—Luciano Tovoli. col—Eastman Colour. ed–Enzo Meniconi. a.d—Michel de Broin. m—Philippe Sarde. m.d—Hubert Rostaing. cost—Gitt Magrini. sd. ed— Gina Pignier, sd. rec–Jean-Pierre Ruh. l.p—Gérard Depardieu (Gérard), Ornella Muti (Valérie), David Biggani (Pierrot), Michel Piccoli (Michel), Renato Salvatori’ (René), Giuliana Calandra (Benoîte), Zouzou (Gabrielle), Nathalie Baye (Girl in Shopping Mall), Soulange Skyden (Girl at Night-club), Carole Lepers (Anne-Marie), Daniela Silverio (Jane), Vittorio Ganfoni (Policeman with Dogs), Guerrino Totis. 9,799 ft. 109 mins. French dialogue; English subtitles.
French title–La Dernière Femme
Gérard, a young engineer whose wife, Gabrielle, has recently left him, meets Valérie, the attractive teacher at the factory nursery where he goes to collect his thirteen-month-old son Pierrot, and invites her home with him; she agrees, and is assured by her lover Michel thathe won’t interfere.… Read more »