Paris Nous Appartient / Paris Belongs to Us (1960),
directed by Jacques Rivette
Film shown at the BFI, London, April 13, 2009
I was attracted to this film by the title, and by the fact that it’s playing as part of the BFI’s Nouvelle Vague film festival. I love the bits and pieces of Nouvelle Vague films I’ve seen, particularly À Bout de Souffle, which is my favourite film, and I’m trying to see as many of the festival films as I can, concentrating mainly on ones that I’ve never seen before.
The opening credits show a train rushing along what appears to be passing countryside. It soon arrives at the Gare d’Austerlitz in the south of Paris. I’m mentioning this because I found the appearance of countryside amazing as I’m sure that all that space will now be banlieue.
As soon as we hit the station we get the title of the film:
Paris Nous Appartient / Paris Belongs to Us
and then immediately a quote contradicting the title:
“Paris n’appartient à personne” / “Paris belongs to no one” (Charles Peguy)
I was so happy about this contradiction, because it’s exactly how I feel, that I think it was my favourite part of the film. Also, I found this early promise very heady, and what followed was mostly disappointing.
The story revolves around a young woman, Anne, who abandons her university exams to be in a production of Shakespeare’s Pericles, during which time she starts to fall in love with its director. Meanwhile, she is also trying to get to the bottom of a mysterious death linked with the theatre company, and in so doing discovers what may or may not be a worldwide conspiracy.
The film was long, it was meandering, and I found myself completely resistant to the sideline in paranoid conspiracy.
But there was a scene fairly early on that caught my attention. Anne has just been to her first Pericles rehearsal and she is now standing on the street talking to the director while he waits for his girlfriend to come and pick him up. M nudges me. “It’s the Bateau Lavoir”, he says. I take a good look at the street on which the characters are standing. It is the Bateau Lavoir. We’d just been in Paris a few weeks before and we’d been standing there too, taking our time as we walked through Montmartre, trying to slow the moments down until we would have to leave and go back to London. I couldn’t quite believe that we had just been standing in this same place, but that we had been there 50 years later.
I also liked seeing the shabbiness of some of the Paris apartment interiors. You never see Paris presented like that now (at least not the centre of Paris) – it always seems so immaculate with insides to match the outsides, so I was fascinated by this new way of thinking about and seeing the city.
It may seem as if I don’t have very much that’s good to say about the film, but I was so happy to have seen it on a Monday afternoon, having gone in when it was cloudy and then come out again two and a half hours later into the temporary promise of evening sunshine. We we were laughing about the film and it’s “doo di doo” of existentialism (to quote M) as we walked across Waterloo Bridge and completely took for granted the centre of London in full bloom all around us.