Year: 1991
Duration: 01:10:54
Directed by: Jacques Rivette
Actors: Michel Piccoli, Jane Birkin and Emmanuelle Béart
Language: French | English Subtitles
Country: France | Switzerland
Also known as:A Bela Impertinente, A Bela Intrigante, szép bajkeverő, Den sköna satmaran, Den skønne strigle, Die schöne Querulantin, I oraia kavgatzou, La bella latosa, La bella mentirosa, La bella scontrosa, La belle noiseuse – tuntematon mestariteos, Piekna zlosnica
Description: Drama about complicated relationships of artists and models. Known in the past painter Frenhofer lives alone in a small village in southern France. Him comes to visit a young fellow with a young artist friend Marianne. Seeing the girl Frenhofer decides to finish the painting “La Belle Noiseuse”, the work on which he began to make many years ago and gave up. Return to creativity and participation in Marianna as a model completely changes the relationship in this love triangle.
Review: A striking aspect cinematographic French director Jacques Rivette is, is that, despite its length and slow pace of the narrative, it is viewed with ease and rapturous awe, because as a key element in it stands true aestheticism, who can not not admire and do not delight . Unspeakably soft and smooth viewing of this brilliant film is promoted by an overwhelming sense of peace one experiences watching comprehension artist something unknown and barely perceptible, escapes from the insinuating glance, the prisoner in the beauty of a woman in her inner world. The whole movie we’re watching how ragged look bored painters Edward reborn, trying to discern the true, pristine nature, hidden in the body of his Artist’s Model. And, as it turns out, the young and the reckless audacity Marianne and she has no idea what kind of cold and biting it has.
When Nicole says Marianne that she will pose for old artist leaped pride gives birth to her offense, she turns away in the reluctance to talk with her lover, feeling insulted. What’s the matter? It would kill their love? Hardly. She hardly thinks so. Because the next morning is already running to the artist, the desire to be the cause of the blower devouring inspiration. The relationship of creator and muse Jacques Rivette starts with the silent episode, in which the artist nervously prowl for his creative laboratory in search of paints and brushes, and turned away all unfinished paintings, which are likely to hinder the flight of his imagination. However, after a slow and awkward scene, a symbiosis of creative spirit and inner peace Edward Marianne is instantaneous, and frozen before the artist incarnation of pure beauty is expressed through his sketch of its lines and curves through the game with shadows. And something unknown and mysterious and magical flooded the movement of the hand of Edward, who, rustling feather, causing barely discernible contours on album sheet. Something attractive and magnetic felt during momentary capturing artistic images, is not it?
In parallel with the way the artist applied to the leaves fascinating album thumbnail sketches, playing with shadows and contours and knowing the form of Marianne, who with the utmost composure, he poses, Nicolas learns bitter jealousy. Brutal, but irrational and tivishnuyu, that is the one that has no real confirmation. Perhaps the most accurate to the relationship between Marianne and Edward suitable words of the young and the young artist Nicolas Poussin in the novel by Honore de Balzac, “The unknown masterpiece,” free interpretation of which is the “Charming naughty.” When Poussin off his mistress to the old artist, he says: “Yet this artist – very old man. He will see you as just a beautiful form. ” That’s Edward looks at Marianne as an opportunity through which he still manages, like Leonardo da Vinci, after a long time to return to the unfinished canvas and embody and express in it a certain transcendental essence of beauty, the ideal image of beauty.
Jacques Rivette (director of La religieuse) filled delightful range of his work, which miraculously came together motive dramatic nature of art and the subject of the sacred quest for absolute perfection. Ecstatic state enchanted young Marianne, who before meeting with an old master, “have not experienced anything like this,” suddenly flows into deep disappointment when she sees the complete picture, which … and here Rivette does not continue to move the camera and broadcast on the screen painted by the images. Fervor and to open young Artist’s Model suddenly turn sour and give way to a broken heart, because she had not expected Edward portray completely unknown side of her. Marianne does not withstand a collision with the abyss own being, perhaps only a fictional Edward, and possibly transferred to them with real precision. This suggests that the “charming Wives’ central theme is the art of sacred possession, when the artist unwittingly drags the ordinary people in the thicket of his own imagination, where they will not see anything close to their hearts, and the artist will be a fantastic one picture he understands content.
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One of my favorite Emmanuelle Béart films. Man, I had a thing for her back in the day…and she is still so gorgeous. If you’re a fan of hers, and you haven’t yet seen them, try to get your hands on L’Enfer, Un Coeur en Hiver, Manon of the Spring, and Date with an Angel. Some of her best work. She also did a short film called Le Dernier Chaperon Rouge, where she held the title role…something to see, if you can get a copy. She’s scrumptuous.