From Sight and Sound (Winter 1976/77). -– J.R.
Jacques Tati, by Penelope Gilliatt
(Woburn Press, £ 2.95). A good example of Sunday supplement journalism, this thumbnail sketch — the first book in English devoted to Tati — shares roughly the same virtues and limitations as Gavin Millar’s Omnibus programme on him last spring: a warm, ample sense of the comic’s personality and opinions is coupled with a meagre grasp of his art. Basically derived from a New Yorker Profile, but decked out with a pleasant assortment of stills, Gilliatt’s slim volume hops from interview material to favourite recollected gags and back again without so much as hinting at the radical complexity of any single shot and its accompanying sounds in any Tati film, restricting its focus to a set of stray details retrieved out of context. To settle for this sentimental reduction of Tati’s genius is roughly tantamount to reducing [James Joyce’s] Ulysses to Joseph Strick’s greeting card version. But Hulot fans who feel that Tati’s importance rests chiefly on his charm as a performer should have little cause for complaint.
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This review of Jacques Rivette’s weirdest film, from the Winter 1976/77 issue of Sight and Sound, is one of the few pieces of my significant writing on Rivette from this period that hasn’t already been reproduced either on the excellent web site devoted to Rivette, “Order of the Exile,” or on this web site (e.g., my essay for Film Comment about Duelle). Having spent five very memorable days during the summer of 1974 watching the shooting of Noroît, in and around a 12th century fortress on the Brittany coast (see “Les Filles du Feu: Rivette x 4″, an article I wrote with Gilbert Adair and the late Michael Graham, reproduced on “Order of the Exile”), this was a film that I found in some ways even more compelling as a project than as a realized work.—J.R.
If each new Rivette film marks a decisive break as much as a discernible development, Part III in the projected Scènes de la Vie Parallèle — the second film made in the tetralogy — reinforces this principle with a vengeance. Receiving its world premiere at the London [Film] Festival, immediately after a screening of Duelle (Part II of the cycle, discussed in my Edinburgh article elsewhere in this issue), Noroît has already occasioned the sort of extreme realignments provoked by Spectre after L’amour fou, or by Duelle after Céline et julie vont en bateau.… Read more »