Written for the May 2016 Artforum. — J.R.
Although Jacques Rivette was the first of the Cahiers du Cinéma critics to embark on filmmaking, he differed from his colleagues—Claude Chabrol, Jean-Luc Godard, Eric Rohmer, François Truffaut—in remaining a cult figure rather than an arthouse staple. His career was hampered by various false starts, delays, and interruptions, and then it abruptly ended in 2009 with the onset of Alzheimer’s disease, six years before his recent death. But his legacy is immense.
His career can easily be divided into two parts, although it’s not so easy to pinpoint a precise dividing line between them. And for those who knew him well or even casually, as I did, it’s hard to prefer the first portion to the second without feeling somewhat guilty.
Common to both parts is a preoccupation with mise-en-scène and the mysterious aspects of collective work, offset by the more solitary and dictatorial tasks of plotting and editing. Rivette’s own collective work was frequently enhanced by improvisation—with actors, with onscreen or offscreen musicians, or with dialogue written just prior to shooting (either by actors or screenwriters)—while the more solitary work of plotting and editing emulated the Godardian paradigm of converting chance into destiny.… Read more »