Out 1: Noli me tangere

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Movie
German title Out 1: Noli me tangere
Original title Out 1: Noli me tangere
Country of production France
original language French
Publishing year 1971/1990
length 760 minutes
Rod
Director Jacques Rivette
script Jacques Rivette, Suzanne Schiffman
production Stéphane Tchalgadjieff
camera Pierre-William Glenn
cut Nicole Lubtchansky
occupation

and many others

Out 1: Noli me tangere is a 1971 film directed by Jacques Rivette that found its final form in 1990. There are two finished film versions of the material shot for Out 1 : a version with a duration of a little more than 4 hours: Out 1: Specter , as well as the approx. 13 hour long film Out 1: Noli me tangere .

History of origin

April – May 1970: shooting.

1970–1971: Assembling the material to create a working copy.

October 1971: Screening of a first unfinished version of the film, already approx. 13 hours long - comparable to a rough cut - in the Maison de la Culture in Le Havre.

1971–1973: It turns out that no producers can be won for the completion and distribution of the long version. Rivette decides to make a "short" version. It was first broadcast on television at the end of 1972 under the title Out 1: Specter , before it had its cinema premiere on June 30, 1973 in the International Forum of Young Cinema in Berlin.

1990: Almost 20 years after the shooting, Rivette was able to resume editing work on the film with financial support from the French Ministry of Culture and the West German Broadcasting Corporation, among others, and produced the final version of the long version of the film, with the entire material being divided into 8 episodes.

October 1990: Cinema premiere of Out 1: Noli me tangere at the Festival international du cinéma européen in La Baule.

April – May 1991: The 8 episodes are first shown on German television by WDR.

action

Paris in the spring of 1970.

Episode 1 - From Lili to Thomas: A theater group, led by Lili, rehearsing Aeschylus' play Seven Against Thebes . - A young man, Colin, who, mostly in cafés, sells “Messages of Destin” for one franc each. He pretends to be deaf and dumb and only communicates via the notes of his harmonica. - A second theater group, led by Thomas, rehearsing Aeschylus' play The Fettered Prometheus . - A young woman, Frédérique, who gets by with petty theft, who, mostly in cafes, steals a few francs from men or scorns.

Episode 2 - From Thomas to Frédérique: Further rehearsals by the Thebes and Prometheus groups . - More, not always successful, stealing from Frédérique.  - Lili meets with Élaine, who is part of her theater group, and she meets with Lucie. In both conversations there are many names - Igor is one of them - and sentences like: "These are the twelve others" and Lucie suggests: "We should all meet again". - Colin is leaked notes that contain more or less cryptic texts. Deciphering one of these texts leads him to Balzac's Story of the Thirteen.

The audience in the first two episodes will not readily recognize that it is Seven Against Thebes and The Fettered Prometheus that are being rehearsed. The rehearsals in both groups are more about various forms of body and voice work than about role studies. The rehearsals will continue to be seen for a while, but not as dominating as in the first two episodes. - Rivette: “In the long version, almost nothing happens for the first three or four hours, they are practically documentaries by the two theater groups and about how Jean-Pierre Léaud distributes his envelopes on the Champs-Élysées and how Juliet Berto their petty thefts commits. "

Episode 3 - From Frédérique to Sarah: Colin with a Balzac expert: “Could such a group of 13 still exist today?” - Frédérique and a guy named Marlon; he beats her up, but she stole him anyway. - The decryption of another text leads Colin to an address: 2, place Sainte Opportune. It's the address of a small shop, a kind of hippie boutique that is run by Pauline. And suddenly it turns out: he is not deaf and dumb at all. - One of the women in Thomas' Prometheus group is Béatrice. As tender as they treat each other, she probably means more to him. In Thomas' apartment they talk about the group's situation. Thomas needs outside advice and turns to Sarah, a writer who has lived in a house by the sea for quite some time. Everyone who knows this place calls it “Aubade”. Thomas goes there and tries to persuade Sarah to come to Paris with him ...

Episode 4 - From Sarah to Colin: ... which he also manages. From now on, Sarah will be present at the rehearsals of the Prometheus group. - A newcomer appears at the Theben group: Renaud. - Colin in Pauline's boutique. “Are you one of the 13?” He wants to know. Sibylline answers. - Frédérique arrives at Étiennes' house and steals some letters there. The letters also deal with this mysterious group of 13. The senders of the letters: Lucie and Igor. - Thomas visits Pauline, but not in the boutique, but at her home, and there she does not call herself Pauline, but Émilie and is worried. Concerned about her missing husband - none other than that Igor - from whom she received no more signs of life.

Episode 5 - From Colin to Pauline: Frédérique's attempts to make money with the letters. Without success with Étienne and Lucie; she just takes the letters away from her. With success with Pauline, who is naturally interested in Igor's letters. - Colin, totally in love with Pauline. But she doesn't want to know anything more about his advances, her thoughts are only with Igor. - Thomas would like to have two women: Béatrice and Sarah. - Quentin from the Theben group won money on race bets. But no sooner has he presented the notes to the others than they have disappeared again, and with them ... Renaud.

Episode 6 - From Pauline to Émilie: The search of the individual members of the Thebes group for Renaud. The search remains unsuccessful, but at the end of the episode someone else meets Renaud: Frédérique. - Sarah showed up at Pauline's boutique. Colin pursues them and ends up in the Prometheus group's rehearsal room . He asks Thomas: Is there a connection between Prometheus and the group of 13? Thomas is easily confused. How does this young man know about the group of 13? - Then Thomas meets with Étienne. Is the group still alive? Étienne is rather skeptical. - Sarah with Émilie. Sarah defends Pierre, Émilie defends Igor. (And both Pierre and Igor, characters that are only talked about in the film.) - Colin turns back to the cryptograms and discovers another name hidden in it: Warok. - The most mysterious part of the episode (like a fragment from a completely different story about forged passports): A guy shows up in Pauline's boutique who says Lorenzo sent him. Pauline and Lili beat him up and drag him into the cellar.

Episode 7 - From Émilie to Lucie: Colin at Warok. Again his questions about the group of 13. Again no illuminating answers. - Émilie wants to send documents that could compromise Pierre to the press. Sarah wants to prevent it, but doesn't make it. After informing Thomas about it, he meets with Lucie and Étienne. Perplexity. - Frédérique: Has she finally found someone in Renaud to ally with? Or does she just want to take him out too? - In the house by the sea, “Aubade”: The friends Lili and Émilie are there when Thomas arrives with two actors from his Prometheus group.

Episode 8 - From Lucie to Marie: In the meantime, Sarah has also arrived at the “Aubade”. A reconciliation between Sarah and Émilie? Possibly. A reconciliation between Thomas and Lili? Rather not. - Igor calls Émilie. She and Lili set off back to Paris. - Colin bursts into a conversation between Lucie and Warok: “Your group of 13? A pipe dream. ”- Only Frédérique comes to a tragic end. - The last pictures of the film, one of the actresses from the Theben group: Marie. It was she who got it all rolling when - in episode 2 - she handed the first of the three cryptic texts to Colin.

Varia

The title - 1. Why Out 1  ?

Rivette: “The title Out 1 … a mere label… a purely written title which, I hope, has no meaning.” - Stéphane Tchalgadjieff, producer of the film, recalls: “For Rivette the film was called Out - I think , Out in the sense of the opposite of In . At that time there was a lot of talk of 'in', of 'cool', and he was 'out', which meant something like: I don't belong, I'm outside. ”- Hélène Frappat reports that there were plans at a certain point in time gave the film at least one sequel Out 2 , in which characters like Igor and Pierre should finally appear.

The title - 2. Why Noli me tangere  ?

Noli me tangere - don't touch me. Rivette: “I only came up with the name of the film during editing. Because it's really a film that is about how the characters move towards each other. They approach each other without actually touching. There are indeed many moments of movement towards each other in the film, but these are almost always broken off. You refuse, you back off: Noli me tangere. ”But one shouldn't take such titles too seriously:“ You throw them at the critics so that they can enjoy themselves. ”

The engine - Balzac's story of the thirteen

Rivette: “Two or three weeks before the shooting of Out started , the four or five main characters whose paths were to cross were determined. Then I realized something. This story lacked an engine, an occasion for the meeting between Juliet and Jean-Pierre and between him and Michael Lonsdale, who in turn met Bulle Ogier. Suddenly I remembered the story of the thirteen . I only knew the title. I thought: Such a secret society might not be bad. "- Balzac, the first sentence of the preface to the story of the Thirteen :" At the time of the (French) Empire, thirteen men came together in Paris, all of whom were inspired by the same feeling and Had enough energy to remain true to a common idea; they were so sincere to one another that no one ever betrayed the other, even when their interests were opposed; so wise and prudent as to hide the sacred bonds that united them; strong enough to defy all laws; so bold as to dare anything; so successful that they almost always lead their projects to a happy end, defying the greatest dangers, but hiding defeats. "

Two years after certain events in May 1968

Rivette, May 1990: “I think anyone who sees this film should know or at least not forget that it was shot exactly twenty years ago, in April and May 1970. So two years after certain events that were not only in Paris for Caused uproar, but in all of Europe and even in the USA. ”- Correspondingly, the last insert before the first shot of the first episode:“ Le 13 avril 1970 ”.

"Wild improvisation"

Rivette: “The film was made without a written script at all. There was only one scaffolding. All the actors in the film improvised. So everyone invented their own character. In the months before shooting began, it was honed and discussed. Every single figure was created in this way. Only a few days before the start of shooting did we set up the diagram of their encounters. ”- Bulle Ogier, actress from Pauline / Émilie:“ With Rivette, the actors are always very actively involved, but in Out 1 he pushed his way of working to the extreme. Jacques asked each of us to choose an activity. That's how I came up with this kind of alternative place: L'Angle du Hasard (Angle of Chance). ... The name of the boutique is pure Rivette. ... Basically none of the actors knew what the others had played the day before. … When playing, everything seemed absolutely abstract: we didn't know beforehand what to do, what to say, or why. Only Rivette and Suzanne (Schiffman) knew; we actors, on the other hand, were completely in the dark. It was just wild improvisation, according to the motto: 'Let's go - just close!' "

DVD

DVDs 1–4 of the box Jacques Rivette, Out 1 . absolut MEDIEN / arte Edition, 2013. ISBN 978-3-8488-7017-2 . (Original French version with German subtitles.) Also contains, divided into seven sections, a long conversation with Rivette and the film The Secrets of Paris by Wilfried Reichart.

literature

  • Jan Paaz and Sabine Bubeck (eds.): Jacques Rivette - Labyrinthe . Center d'Information Cinématographique de Munich, Revue CICIM 33 from June 1991. ISBN 3-920727-04-5 . In it pp. 117–141: Collection of several texts on Out 1 , which are identical or similar to the booklet of the DVD box.
  • Hélène Frappat: Jacques Rivette, secret compris (= Auteurs ), Cahiers du Cinéma, Paris 2001, ISBN 2-86642-281-3 . In it pp. 137–149 about Out 1 . (French.)
  • Mary M. Wiles: Jacques Rivette (= Contemporary Film Directors ), University of Illinois Press, 2012, ISBN 978-0-252-07834-7 . In it p. 53–61 about Out 1 . (English.)

Web links

Individual evidence

  1. ↑ All information according to the information in the booklet of the DVD box from absolut MEDIEN:
  2. ↑ Rivette in June 1974 in a conversation with Jonathan Rosenbaum, Lauren Sedofsky and Gilbert Adair: “In the long version almost nothing happens for the first three or four hours. It's only documentary sequences of the two theater groups, Jean-Pierre Léaud's distribution of envelopes on Champs-Elysées, or the various petty thefts committed by Juliet Berto. “ Complete interview in the September / October 1974 issue of Film Comment . German translation taken from the booklet of the DVD box.
  3. ↑ Jacques Rivette in a conversation with the magazine Téléciné from May 1974; German translation taken from the booklet of the DVD box.
  4. ^ “Pour Rivette, le film s'appelle Out - Out par opposition, je crois, â In . À l'époque, on parlait beaucoup de 'in', de 'cool', et lui était 'out', ce qui signifie: je ne fais pas partie de vous, je suis en-dehors. ”In: Hélène Frappat, Jacques Rivette, secret compris , Cahiers du Cinéma, Paris 2001, p. 147.
  5. ↑ " Out 1 devait avoir une suite, Out 2 , dans laquelle le spectateur aurait découvert l'identité du mystérieux Igor (rôle prévu pour Sami Frey), et du fascinant Pierre (Alain Cuny)." In: Hélène Frappat, Jacques Rivette, secret compris , Cahiers du Cinéma, Paris 2001, p. 137.
  6. ↑ Jacques Rivette in the conversation in the DVD box; Translation taken from the German subtitles.
  7. ↑ Jacques Rivette in the conversation in the DVD box; Translation taken from the German subtitles.
  8. ↑ Honoré de Balzac, The Story of the Thirteen , Preface, translated from the French by Erika Wesemann. Insel Taschenbuch, Frankfurt am Main 1996, ISBN 978-3-458-33607-5 . P. 9.
  9. ↑ Jacques Rivette in the conversation in the DVD box; Translation taken from the German subtitles.
  10. ↑ Jacques Rivette in the conversation in the DVD box; Translation taken from the German subtitles.
  11. ^ “Chez Rivette, les acteurs sont toujours des participants actifs mais, dans Out 1 , il a vraiment poussé cette méthode à l'extrème. Jacques avait demandé qu'on se situe socialement, et j'avais reconstitué une espèce de lieu alternativ, L'Angle du Hasard . … Le nom de la boutique, lui, était purement rivettien… Par principe, chaque acteur ignorait ce que les autres avaient joué la veille. … Quand on jouait, tout nous paraissait complètement abstrait: on ne savait pas quoi faire, ni quoi dire, ni pourquoi. Rivette savait, Suzanne (Schiffman) also; nous, on pataugeait complètement. C'était de l'improvisation sauvage, du genre: 'Allez-y!' "In: Hélène Frappat, Jacques Rivette, secret compris , Cahiers du Cinéma, Paris 2001, p. 140.