The Duchess of Langeais (Jacques Rivette, 2007)

[justeleblanc]

IFC Films has picked up Rivette's Ne touches pas la hache for North American audiences and will rename if The Duchess of Langeais, which actually was the title of Balzac's original story.

[domino harvey]

why in the world would they change one of the greatest movie titles ever to the most ZZZZZZ title available

[tavernier]

OK, now I'll stop complaining that this wasn't chosen for the NY Film Fest. Now if only the new Olmi and Greenaway get distribution, I'll be happy.

[ltfontaine]

why in the world would they change one of the greatest movie titles ever to the most ZZZZZZ title available

Rivette has explained that, because the story was originally titled "Ne touches pas la hache," his film follows suit. Even for many of Balzac's contemporaries, however, the phrase as spoken in the story constituted an obscure historical reference.

Does Armand speak the line in the film? If so, is it explained in any way? Not that Rivette would miss a chance to introduce yet one more element of mystery into his film.

[justeleblanc]

I don't mind too much. I'll always call this film Ne touchez pas la hache, but if this title means greater box office success for Rivette (I'm sure it'll still be little) then I'm in favor of it. It's a bit of a period piece, and calling a film DON'T TOUCH THE AXE gives the impression this is a horror film. I don't know, I think it makes sense in terms of marketing. And I'm just happy they're bringing it over. Marie and Julien didn't even get theatrical distribution.

[David Ehrenstein]

This is great news.

The Balzac nouvelle was one part of L'Historie des 13 -- which of course is the ur-text of his towering Absolute Masterpiece Out One

Back in the late 40's Max Ophuls wanted to make a film of The Duchess of Langeais as a comback vehicle for Garbo.

Screen tests of the goddess were shot by James Wong Howe (they're included in a new set of Garbo DVDs) but Ophuls couldn't get the backing.

In France Don't Touch the Axe has proven to be Rivette's very first hit.

Here of course it'll be lucky to find half a dozen theaters.

[David Ehrenstein]

A masterpiece. I am overwhelmed and barely able to type. Cinematic mastery doesn't get more refined than this.

Think of a punk Under Capricorn with a soupcon of Max Ophuls and Friz Lang.

[John Cope]

Your enthusiasm is contagious, David. I adore things that overwhelm. And a description of that sort doesn't hurt either. Can't wait to see it. Hopefully it will turn up in Milwaukee (though I'm not holding my breath) but, if not, I'll trek down to Chicago for this.

Oh, and when you've regained your ability to type I want to hear more!

[franco]

I think this part of L'Histoire des Treize is also aliased La duchesse de Langeais (which is listed on IMDB and during the film's opening credits) - so I think the English-speaking world just went for the less fascinating title of the novel.

David, is this really Rivette's first hit? Almost entirely composed of dialogue scenes between two people, the movie seems hardly as accessible as Va Savoir. There's absolute no furniture-moving scenes - although we still get heavy shoes and squeaky floors. The opening 10 minutes are so weird that I almost thought someone attached the wrong movie to the right opening credits. Still, the weirdness kind of makes sense afterwards.

If I could forget about the opening 10 minutes and the finishing 10 minutes, this is likely the best-shot Rivette film ever. I kind of also want to cut them out; then I may like the movie more.

[David Ehrenstein]

Well you're not allowed. There is nothing whatsoever the matter with the beginning or ending of the film or anythign else in between.

I have been informed that in France La Belle Noiseuse -- despite it's considerable length -- was also a hit.

[Antoine Doinel]

Trailer.

[tavernier]

Opens Feb. 22 in New York.

From the IFC Films press release:

THE DUCHESS OF LANGEAIS screened at the Berlin and Toronto film festivals and will soon be featured in February's Film Comment Selects series at Lincoln Center. It will open in New York on Friday, February 22 at Lincoln Plaza Cinemas and the IFC Center, and will also be available simultaneously on demand, with a national roll-out to follow.

[foggy eyes]

In terms of narrative and material, this is probably the most accessible of Rivette's films yet, but I very much doubt that it'll be a "hit" of any kind in the UK (although being pegged as a French costume drama has no doubt helped it to secure wider distribution than one would expect) - the pace is stoical and deliberate, the cinematography as inky as Marie et Julien, and the resolution beautifully austere. Balibar and Depardieu's central performances are terrific, and I can still hear the latter's hulking footsteps ringing in my ears. Exquisite, as usual.

[tavernier]

Andrew Sarris has little use for it.

[MichaelB]

I think this part of L'Histoire des Treize is also aliased La duchesse de Langeais (which is listed on IMDB and during the film's opening credits) - so I think the English-speaking world just went for the less fascinating title of the novel.

The part of the English-speaking world that I inhabit saw it as Don't Touch The Axe - here's some proof

[Cold Bishop]

At least the US print still says "Don't Touch the Axe" in the title credits, then "Duchess of Langeais" in the adaptation credit. Still, I feel releasing under the title would definitely bring in more business.

[Michael Kerpan]

Andrew Sarris has little use for it.

What a remarkably useless review. All I learned from it is that Sarris has obviously never had any real interest in Rivette's work.

;~{

[Barmy]

I didn't read the Sarris review, but I'm not sure non-Rivettophiles will find much of interest. It's basically a dialogue-heavy two-hander, mostly set in ornate chambers, and with an, erm, dated theme and plot.

The cinematography is awesome, other than the first and last 10 minutes, which looked a bit thin and even DVish in the outdoor scenes. Fans of wood flooring will love the sound design. Depardieu's perf is excellent and Balibar is less annoying than usual. The theater thematics are there, but more in the background.

I think Rivette's 4(?) period films are his least interesting, in part perhaps because he works better with loose (or no) scripts. Per Balibar, the script for Ax was finished before shooting began, which is unusual for Rivette.

I think the title should be "I Almost Married an Ax Toucher".

[David Ehrenstein]

You may find Balibar annoying, but Rivette's over the moon about her. This all came about because of the great time he had directing her in Va Savoir.

Balzac is a major touchstone for all the nouvelle vague directors. As for Rivette's costume films, it's much lighter than La Religieuse and Jeanne La Pucelle, but not as wacky as Noroit.

And I find nothing "dated" about l'amour fou, having experienced it on two separate occasions across my now 61 years.

[Barmy]

For some reason I don't think of Noroit as a period film. If so, it is one of the best. I was actually referring to Hurlevent as the 4th(?).

Yeah, Ax is lighter than The Nun, but so is molybdenum.

L'amour fou is a rather broad term. I'm really referring to the endless back and forth which is the hallmark of pre-20th century romance literature. During the Q&A Balibar herself (clad in a gauzy backless black rag) seemed to agree that in 2008 they would be fucking within minutes.

[John Cope]

L'amour fou is a rather broad term. I'm really referring to the endless back and forth which is the hallmark of pre-20th century romance literature. During the Q&A Balibar herself (clad in a gauzy backless black rag) seemed to agree that in 2008 they would be fucking within minutes.

Because you've come a long way, baby.

[Oedipax]

Heads up to those interested in seeing this who aren't near a theater that's playing it - IFC is offering it via On Demand.

[tavernier]

Armond finds it dull.

[Barmy]

I'm glad my bro agrees with me.

I went to see it for a second time yesterday, this time at a commercial theater. 25% of the sparse audience walked out. I think the first hour is great but then it doesn't go anywhere.

I have no issues with Balibar's perf. Yeah she's a bit ditzy and "modern" for early 1800s, but I would much rather see that approach than some embalmed Keira Knightley type.

And comparing this to "The Witnesses" is a bit apples and oranges. Why not compare it to CEOTTK?

[tavernier]

And comparing this to "The Witnesses" is a bit apples and oranges.

That's your bro's modus operandi.

Why not compare it to CEOTTK?

Don't give your bro any ideas.