Occasionally,
I`ll bemoan the truth that I rarely venture to the multiplex,
but rather, spent my hard earned money on videos which can
only be viewed on a puny screen. But perhaps I shouldn`t complain.
At least when you`re sitting at home, you can call the shots.
If you feel like a snack, or if your bladder shouts at you
to get up, you can`t command the projectionist to turn the
reel off until you get back. And if the running time exceeds
more than two hours, you may be in trouble, no matter how
good the movie might be. I tried to suffer through Titanic
in one sitting, but, alas, it was not to be. So I was lucky
to be viewing the film La Belle Noiseuse in the comfort of
my bedroom instead of the cramped seats of the theatre. This
film is in French, with subtitles, and is exactly four hours
long. And the subject is painting, no less, which is not exactly
the most obviously thrilling theme for the average film-goer.
To be fair, this is a pretty good film, but I would not be
willing to go to a theatre to watch it, unless there was a
decent intermission.
The
main plot involves a great painter, played by Michel Piccolli,
who lives as a recluse with his wife in his somewhat intimidatingly
large house. He is visited by a young admirer and his girlfriend,
played by Emmanuelle Béart. Béart doesn`t seem to be much
interested in the art world, but this doesn`t seem to matter
much to her own boyfriend, who gets her into a situation which
causes some strife between them.
The
artist and the apprentice discuss the true purpose of art.
The apprentice, in his youthful naivety, seems to believe
anyone can be an artist if one takes risks. The artist, in
his aged wisdom, insists that not every person who attempts
such a life can become a true artist, for not everyone has
the talent to create new things. A true artist should be completely
original, and true art must be completely original. With that
in mind, the artist himself has not introduced any new art
to the world in over a decade. He cannot just release any
old erratically made piece of art and be satisfied with it.
It must be a masterpiece or nothing. This sets us up for the
main thrust of the story; an unfinished painting called La
Belle Noiseuse. The original model was the artist`s wife,
but she did not apparently inspire him enough to finish the
work. The young man, trying to be helpful to his hero, suggests
his own girlfriend could pose for him, and then be able to
finish what is bound to be a masterpiece.
This
development introduces a fascinating theme; a sense of control,
of domination within an artist, or the people surrounding
the scene, over the subjects of their art. This theme manifests
itself into its most literal sense, as the subjects aren`t
just from the imagination, but actual real life people, forced
into appearances to suit the artist`s whim. Both the artist
and the young man behave as if the woman will naturally pose
for the painting, and when the couple leave for the night,
the woman is taken aback by the artist`s hope to see her tomorrow.
The couple then get into an argument back at their apartment,
with the woman furiously condemning him for their disrespect
of her privacy. All they care about is getting some stupid
painting done, even if that means she is forced to stand naked
in strange positions for hours. As she puts it: "You sold
my arse!"
The
next day, oddly, she goes over there. Possibly the idea of
stepping into the artist`s private world is exciting, dangerous
for her. Or perhaps she is intimidated by the environment
around her, and is only able to fight back so much. Whatever
it is, the fact of the matter is she does not get along with
the artist. Much of the rest of the movie is dedicated to
two things: the battle of wills between the woman and the
artist, and the actual creative process of the artist. Director
Jacques Rivette does a very unusual thing: he allows the camera
to watch the artist at work, literally. We see him for minutes
at a time making sketches, drafts, mixing paints,etc. cutting
with shots of Béart in her numerous poses. We may not understand
exactly what Picolli`s character is imagining when he sees
her postures, but we can comprehend the discipline and attention
needed to create what is an extensive work.
We
can also comprehend the boredom and the tourture upon the
model. There are many scenes where the woman appears bored,
distant, untuned to the artist`s private thought process.
And there are other times where she is literarrly injured
in order to meet his demands. Some of her contortions are
such that her neck begins to strain. She is treated like an
object, occasionally roughed around, not as a person would
be if one were to be assulted, but as if she were a mound
of clay, constantly being shaped and reshaped until it satisfies
the creator. This battle of wills becomes more complex, however,
as the artist suddenly feels he is getting nowhere, and the
woman becomes adamant that he not stop, now that she has managed
to join in his suffering.
This
film is much more contemplative, devoid of formulaic situations.
The story demands complete patience and understanding from
its audience; something which will be undeniably difficult
to achieve. Even I personally wondered if perhaps it was just
a tad too long. Probably an hour could have been cut and still
maintain most of what the story set out to do.
But
I won`t be unkind and say it should have been a "regular"
two-hour feature, because it couldn`t have been. The story
deals just as much with the artistic process itself as with
the people involved, and that can take much description. It
is much more deeper than a film like Artemisia, which dealt
with an Italian woman and her struggle for artistic expression
in the fifteenth century. That film was more fast-paced, with
accessible plotting. La Belle Noiseuse is the kind of film
where much attention must be paid. If you are one of the lucky
few to allow yourself to get into the film, rewards will come
your way. If not, well....... perhaps you can find solace
in the vision of Emmanuelle Béart`s naked body for a couple
of hours. It might insult the intellegence of the people involved
if you were to think in those terms, but, who knows, you might
eventually discover the deeper meanings after all.
David
Macdonald
David
Macdonald's Movie Reviews
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