Tapage nocturne

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Movie
Original title Tapage nocturne
Country of production France
original language French
Publishing year 1979
length 94 minutes
Rod
Director Catherine Breillat
script Catherine Breillat
production Emmanuel Schlumberger
Pierre Sayag
music Serge Gainsbourg
interpreted by Bijou
camera Jacques Boumendil
cut Annie Charrier
occupation

Tapage nocturne , often with the additional title nocturnal disturbance in German performances , is a French feature film by director Catherine Breillat from 1979, which she produced on a small budget. In this discursive film with erotic scenes, she partially incorporates experiences from her relationship with Daniel Toscan du Plantier, who at the time ran the Gaumont film company and did not support her in her artistic ambitions. The main character is a "displaced woman" between several men. When it came out, the film was badly received by French critics.

action

Solange is 25 years old, a film director and mother. She is married to a producer and has affairs, sometimes with several men on the same evening. She doesn't seem satisfied with anything, neither with her latest film, which she is finishing, nor with the numerous men she has, not even with her husband or with her actor Jim. At friends she meets the director Bruno, whom she doesn't really like. She falls in love with him, and it gradually becomes passion. They talk a lot during the nights they spend together. She wants to submit to him completely and enjoys the humiliations he prepares her. When he forbids her to call him, she writes him a letter. Before she sends it off, she reads it to an anonymous bed companion. But one day Bruno separates from her and she tries, crying on a bench, to forget him.

Reviews

Marie-Line Potrel-Dorget said in La Saison cinématographique, "Once again a catharsic, shameless film, on the verge of exhibitionism, but without the talent of Doillon or the sincerity of Christine Pascal ." The snobbery is no less bad. “Everything here is fabricated and sounds wrong,” the situations and the characters. The main character Solange is “an archetype of a“ liberated ”woman, a stachanovist of sex and at the same time an intellectual who systematically cultivates the paradox of reflecting on one's inner contradictions.” This falsified illustration of alleged deficiencies in feminism will "not convince anyone, very likely make women angry and men mocking." The critic only knew good things to say about the actors.

Breillat could tell a story, and the two main actors played really well, wrote Pascal Bonitzer in the Cahiers du cinéma . But he expressed irritation about the ubiquitous simplicity in the film, the simplicity of life, money, the spirit, the self-satisfaction, the unwillingness to make an effort and to change, “you can expect a little more.” The film also caused irritation among his colleague Françoise Audé from Positif . "From the beginning, Solange declared himself to be intellectual and intelligent: Your failure to continue is consequently a doubt of a superior kind." It is sad that the film confines love to the two alternatives of domination and submission. “Catherine Breillat has succeeded, but without the talent and in a simplistic way, of the love relationships between men and women as contemptuous and misogynistic as Jean Eustache in his films. And this time it's a woman's point of view: Bravo, Catherine! "

Jean-Louis Cros of the Revue du cinéma said that he had seldom seen something so openly snobbish on the screen as this film, that it was “written, written, written to the height of literary rustling”. - “The film continually returns to its snobbery, to its artificiality, it circumcises itself, destroys itself in the egg, rejects itself to a degree that cannot be otherwise than consciously done. In one way or another, every film, why shouldn't you look at it that way, is a certain form of the astonished male gaze at the woman you are undressing and tormenting. It seems, then, that the challenge for a woman who picks up the camera and is a too-schema prisoner is to be forced to submit to self-mortification, a kind of violent narcissism. Hence the anger that Tapage nocturne makes to reject itself as a spectacle. "

literature

  • Claire Clouzot: Catherine Breillat. Indécence et pureté . In: Cahiers du cinéma, 2004, ISBN 2-86642-285-6 , pp. 39-47.

Web links

Individual evidence

  1. ^ A b Jean-Louis Cros: Tapage nocturne . In: La revue du cinéma. No. 343, October 1979, p. 144.
  2. ↑ Marie-Line Potrel-Dorget: nocturne Tapage . In: La Saison cinématographique 80. Paris 1980, pp. 398-399.
  3. ^ Pascal Bonitzer: Tapage nocturne . In: Cahiers du cinéma. No. 305, November 1979, pp. 51-52.
  4. ^ Françoise Audé: Tapage nocturne . In: Positif. November 1979, p. 79.