"It's all a mirage". The ambition from Rivette to collapse an entire narrative into a single gesture and to create an entirely new cinema. Jake Cole wrote this could be doubled with Opening Night - Cassavetes ideas on "masks and faces" was at the front of my mind in that final 30 minute stretch, except this is only more radical than his films. A reduction of any structure or artifice into pure cinema and physicality. In the Rivette's I've seen…
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The Green Ray 1986
Way less 'composed' than I would've expected from basically my first Rohmer. Very temporal, time is measured carefully through the journal-like structure: we see days as passages, jumping location to location then leaving as abruptly. It perfectly helps us understand the dissonant rhythm of Riviere's world, but Rohmer doesn't execute this in quite as Ozu 'internal mechanics/controlled compositions' kinda way I was expecting. The opposite really - there's some of the most natural, stumbling and human dialogue here, so perfectly…
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Johnny Guitar 1954
The scene where Johnny asks Vienna to lie for him justifies in itself this film as a certified 'real cinema' pick. What I wasn't necessarily prepared for from In a Lonely Place, was how utterly inventive Ray is - that this was released before The Searchers sort of recontextualizes my entire view of film history. The POV shot of a carriage ramming into Vienna's through a window, the blocking, reversing traditional gender roles, parts of the film being so cryptic…
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