Rivette use a static camera and long takes. In his cavernous stone studio, which reminds Marianne of her boarding-school chapel, Frenhofer begins to sketch her. The great central passages of the film involve creation. What I have described so far is merely plot, and in this film plot hardly concerns us. There is a whiff here of The Portrait of Dorian Grey in reverse: The painting will steal the vitality of the model. "But do not let him paint your face," she warns. She even persuades Marianne to accept her husband's invitation to model. Not about nudity." She says she doesn't worry about "How do you say it? An affair." She knows him too well. His wife Elizabeth ( Jane Birkin) fully understands this, and explains to the sister of Marianne's boyfriend: "It's not about the flesh. And he wants to draw from her irritating willfulness the inspiration for his rebirth. Startlingly beautiful, with sensuous lips and deep eyes under arched brows, she seems at first a prop for a familiar story: The old artist will attempt to seduce her. Marianne, the young woman who inspires him, is played by Emmanuelle Béart, who at 23 had electrified audiences with " Manon of the Spring" (1986). With his high forehead and sculpted profile, he looks intelligent, but it is a formidable, threatening intelligence. Rivette edited a 125-minute version titled "Divertimento," but why bother with it? The greatness of "La Belle Noiseuse" is in the time it spends on the creation of art, and the creation and destruction of passion.įrenhofer is played by Michel Piccoli, the saturnine French star whose eyes can bore through other actors.
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Winner of the Palme d'Or prize at Cannes that year, it ran to a full four hours, and so its theatrical life was limited. Jacques Rivette's "La Belle Noiseuse" (1991) is the best film I have ever seen about the physical creation of art, and about the painful bond between an artist and his muse. She is walking away from him, but she is certainly aware of the look, or of the feeling behind it.
There is a moment after dinner the first evening when Frenhofer regards her, and their whole relationship is contained in that look. These two have been together three years. They are an art dealer, a young artist, and the artist's lover, Marianne. One day three visitors call at the vast French chateau where Frenhofer still lives with Liz.
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