Céline and Julie Go Boating & Paris Nous Appartient

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Gordon · #26 Post by **Gordon** » Fri Sep 22, 2006 3:15 am

Paris nous appartient review at DVD Beaver.

Definitely an open-matte job, which is unexpected, coming from the BFI. Looks nice, though.

ellipsis7 · #27 Post by **ellipsis7** » Mon Sep 25, 2006 12:43 pm

Appears to have been a run on the Rivettes... E-tailers taking 5-7 days for despatch...

Michael · #28 Post by **Michael** » Mon Sep 25, 2006 3:47 pm

I could use some convincing to buy Celine and Julie Go Boating. I've never seen a Rivette.. does this film make a good introduction?

Michael Kerpan · #29 Post by **Michael Kerpan** » Mon Sep 25, 2006 3:56 pm

Other Rivette starting points...

Do you like Sandrine Bonnaire? If so, start with "Secret defense". Greek tragedy updated (sort of).

Otherwise, you could start with "Gang of Four" -- Bulle Ogier is a rather mysterious (and quirky) drama teacher -- this has a great cast of young actresses (including Irene Jacob -- who auditions for a place in the school -- but can't afford the price -- Bulle giving out no scholarships -- even to the worthiest of applicants).

If you like Pirandello (and/or Sergio Castellitto) -- there is "Va savoir".

Tommaso · #30 Post by **Tommaso** » Tue Sep 26, 2006 5:08 am

It's not so easy to give a true starting point for Rivette, as all his films are quite different in feeling, although with a few exceptions they share the common theme of characters having to solve some sort of mystery, and of a certain intersection of different 'worlds'. The three films mentioned by Michael are as good as any, especially "Va savoir" is a good introduction although (or because) it's unusually light-hearted. If you like films about the artist's world and enjoy Emanuelle Beart (and I really do), you might go for "La belle noiseuse" first, perhaps the most overtly erotic of all his films, and at the same time a very considerate meditation on art.
"Celine and Julie", however, may indeed be the best starting point (it was for me, actually), as the film combines quite a few of his usual themes: the young girls, the mystery, the city, the transcendent. It also was one of his few public successes, which might indicate it is more accessible to many people than other films. But so much said, every single film by Rivette is a masterpiece, I can't think of many other directors who worked at such a consistently high level.

Michael Kerpan · #31 Post by **Michael Kerpan** » Wed Oct 04, 2006 9:10 am

Maybe I can figure out how to use the English subs from the BFI C&J DVD along with the video of the French DVD somehow?

Still waiting -- but becoming more and more unsanguine.

Too bad on "Paris", this looked pretty good on the old and battered British print I saw several years ago. But it didn't seem like a "sparkly" film -- much more glowering than later Rivette (same for "L'amour fou").

ellipsis7 · #32 Post by **ellipsis7** » Wed Oct 04, 2006 1:10 pm

Seems the new print wasn't too hot either.... This from Peter Bradshaw of 'The Guardian' on the bfi's recent theatrical release....

The wacky and directionless improv acting Rivette encouraged, and the seat-of-the-pants location work, are an acquired taste. Some of the movie frankly does not hold up all that well after 30 years and the often muddy technical quality makes it an even more difficult watch than it might have been. .At over three hours, you really have to make a very generous investment of attention, but patterns and meanings do emerge and its enigmatic, playful humour rises gradually to the surface. Eventually. A defiantly unhurried and opaque film in our consumer-friendly commercial cinema

The next Rivette I'd like to see on DVD is L'AMOUR FOU (1986) - just reading fascinating i/v in old 1977 bfi monograph RIVETTE/TEXTS AND INTERVIEWS edited by Jonathan Rosenbaum... Whetts the appetite certainly, and apparently is the one which really establishes his position as a key innovator of contemporary film narrative... Also the bust-up was inspired by that of Godard and Karina, where J-L smashed up a furnished apartment and destroyed all the clothes... 'Go and buy two new raincoats, so we can go out', Godard told a surprised visitor...

Michael Kerpan · #33 Post by **Michael Kerpan** » Wed Oct 04, 2006 1:22 pm

"L'amour fou" is very impressive -- but rough going. Very like seeing the marriage of friends collapse -- as if in real time.

Gregory · #34 Post by **Gregory** » Wed Oct 04, 2006 1:31 pm

I haven't gotten Celine and Julie yet (it just finally shipped from Amazon.uk after about a week) but if it looks at least as good as the Beaver captures I'll be satisfied with it.

Michael Kerpan · #35 Post by **Michael Kerpan** » Wed Oct 04, 2006 10:16 pm

I just got these today. On our low-end system, neither of the Rivette DVDs looked especially problematic. "Paris" looked at least as good as the print I've seen. I didn't notice any glaring discrepancies between the French and UK C&J DVDs. The BFI DVD looks much better than the old videos I've seen. The French DVD probably has more useful (albeit unsubbed) extras. I think New Yorker will probably use some or all of the materials provided in the French release.

Maybe I will get a chance to do comparisons this weekend -- if I'm not too busy.

solent · #36 Post by **solent** » Thu Oct 05, 2006 7:02 am

Has anyone noticed the low-key buzz or hum on the audio track of CELINE & JULIE? It occurs all the way through. Is this a transfer fault or is it inherent in the source print? It is particularly noticable when a 'silent' scene is playing. The only other times I've come across this 'problem' is with the R1 version of LES CARABINIERS & The R4 MAD DOG MORGAN.

Michael Kerpan · #37 Post by **Michael Kerpan** » Thu Oct 05, 2006 9:07 am

solent wrote:Has anyone noticed the low-key buzz or hum on the audio track of CELINE & JULIE? It occurs all the way through. Is this a transfer fault or is it inherent in the source print? It is particularly noticable when a 'silent' scene is playing. .

I will try to do a listening comparison too. ;~}

Oedipax · #38 Post by **Oedipax** » Tue Oct 10, 2006 4:05 pm

Is anyone else still waiting for Amazon.co.uk to ship their copy of Celine and Julie Go Boating? I ordered it back on September 23, this is starting to get kind of ridiculous.

MichaelB · #39 Post by **MichaelB** » Tue Oct 10, 2006 4:28 pm

Toxicologist wrote:Am i to assume that this BFI release will be completely identical to the proposed R1 Zeitgeist release in 2007?

You'll have to ask someone from Zeitgeist. There will certainly be a very substantial overlap, but whether it's a 100% overlap is up to them.

rebelswede · #40 Post by **rebelswede** » Sun Oct 15, 2006 5:45 pm

Oedipax wrote:Is anyone else still waiting for Amazon.co.uk to ship their copy of Celine and Julie Go Boating? I ordered it back on September 23, this is starting to get kind of ridiculous.

Man, I'm waiting for mine too (from Wow though). I dream that it's because they're fixing the audio buzz.

Oedipax · #41 Post by **Oedipax** » Sun Oct 15, 2006 6:55 pm

Oedipax wrote:Is anyone else still waiting for Amazon.co.uk to ship their copy of Celine and Julie Go Boating? I ordered it back on September 23, this is starting to get kind of ridiculous.

Maybe not. Mine shipped from Amazon.co.uk a few days ago, although the other DVD I ordered (Eloge de l'Amour) is still pending. Longest I've ever had to wait on something from Amazon.co.uk.

solent · #42 Post by **solent** » Sun Oct 15, 2006 11:49 pm

I didn't mean to scare you all about the buzz. Please note that is only really noticeable during very silent shots. I'd prefer not to hear it at all but I can live with it and I am very fussy about these things. I'm sure NEW YORKER will not be any better. If anyone has the French verison please write in and let us know of the quality.

Pinakotheca · #43 Post by **Pinakotheca** » Sun Oct 29, 2006 4:37 pm

solent wrote:I didn't mean to scare you all about the buzz. Please note that is only really noticeable during very silent shots. I'd prefer not to hear it at all but I can live with it and I am very fussy about these things. I'm sure NEW YORKER will not be any better. If anyone has the French verison please write in and let us know of the quality.

I can verify that the basically the same sound on the french and the BFI. I couldn't hear any difference. Great release by BFI.

Steven H · #44 Post by **Steven H** » Tue Oct 31, 2006 10:37 am

Had a chance to watch the BFI Celine and Julie Sunday night, what a fantastic film. I only have two minor complaints, which have more to do with being spoiled than anything else, but I so would have loved to have a Rivette interview included. The one on the AE Histoire du Marie et Julien is one of the most interesting director interviews I've seen. I also would have liked the image to be more detailed, but I suppose that has more to do with it being shot on 16mm. Very minor stuff, overall I'm very happy with it (haven't had a moment for the short films.)

porcupine2 · #45 Post by **porcupine2** » Thu Dec 07, 2006 6:16 pm

review of the bfi's celine and julie disc:

http://www.kamera.co.uk/article.php/779

Jean-Luc Garbo · #46 Post by **Jean-Luc Garbo** » Sun Jun 03, 2007 12:12 pm

Should I go for the BFI Celine and Julie or wait for the New Yorker DVD?

skuhn8 · #47 Post by **skuhn8** » Sun Jun 03, 2007 1:23 pm

Jean-Luc Garbo wrote:Should I go for the BFI Celine and Julie or wait for the New Yorker DVD?

Has New Yorker ever matched or improved upon an existing edition from another region? This isn't a facetious question; I'm sure there are examples but can't think of any offhand. I have the BFI and it does well given the state of the available materials.

Jean-Luc Garbo · #48 Post by **Jean-Luc Garbo** » Sun Jun 03, 2007 1:46 pm

That's a good point. I was curious because I live in region 1 land, but I do love that Rivette film and the BFI has a good record from what I've heard here.

Gropius · #49 Post by **Gropius** » Sun Jun 03, 2007 3:44 pm

On the other hand, the New Yorker disc would probably be better value for the American customer, assuming they use a similar transfer.

Miguel · #50 Post by **Miguel** » Sun Jun 03, 2007 3:58 pm

skuhn8 wrote:Has New Yorker ever matched or improved upon an existing edition from another region?

The only instance that comes to mind is the added Kent Jones commentary on L'Argent.

Although I guess the fact that the Artificial Eye edition has a progressive transfer and is in print, still makes it the superior version.