From Sight and Sound (Autumn 1975).
I was shocked to learn yesterday [in December 2011] of the death of Gilbert Adair, a close friend during the mid-70s (when both of us were living in Paris, and for some time later, after I moved to London ahead of Gilbert). This collaborative article, which I instigated, assigning the middle sections to Gilbert and to Michael Graham (also, alas, no longer alive), is being posted now in memory of our friendship. (With Lauren Sedofsky, Gilbert and I had also already collaborated on an interview with Rivette the previous year, which was posted here yesterday.) And because of the unusual length of this article, I’m running it in two parts; the first half, with sections by me and Gilbert about Duelle, appeared a few hours ago. — J.R.
Like any Rivette film, Le Vengeur (2) took shape gradually, drawing on a large number of deliberately chosen ideas and as many fortuitous circumstances. As important as Rivette’s interest in Tourneur’s The Revenger’s Tragedy (drawn to his attention by Eduardo De Gregorio), and the curious traditions surrounding the period of Carnival, was the availability of Geraldine Chaplin and Bernadette Lafont together with that of a group of dancers from Carolyn Carlson’s company.… Read more »