Editor’s Note: Click on the links for previous entries for episode 1, episode 2, Episode 3 and episode 4 .
Cinquième episode (Episode 5) is titled "From Colin to Pauline".
|Bulle Ogier as 'Emilie', Out 1|
As well, the pace is quickening. I haven’t been keeping a David Bordwell shot clocker throughout the film but my impression is that the scenes are shortening, the action is starting to tumble over shots and moments very quickly. The need to gather up in each episode all the characters and start to toss them up against each other has taken over. In the Cinquième Episode, two new characters are introduced yet again in most perfunctory manners. In one scene Bulle Ogier meets a man, credited only as “un rencontre de Pauline”, clearly an old acquaintance, while dropping off her kids. There is much pleasure at the reunion on display and promises to meet again. But no telephone numbers or addresses exchanged. Is this a mislead or a script defect. Wait and see. Similarly, from an entirely different class and culture, the actress Lili, leader of the first Prometheus production troupe is also a member but for what…
And there is the most devastating plot development so far. Quentin, an actor in the first troupe, that performing “Seven Against Thebes”, turns up late for rehearsal which is being supervised by the newly-arrived Renaud, and announces he has won a million francs backing three winners at the races. While celebrations commence, Renaud promptly steals the winning ticket and disappears.
The members of the troupe are morose and reduced to eating spaghetti without any sauce. Provoked by Quentin’s son Max they have a light bulb moment. They will search for Renaud in the streets. There is some method in their madness. They will first ask the newspaper stand proprietors at the seven end of the line stations if he has been noticed.
|Leaud and curious passer by, Out 1|
First David Hare wrote in response to Episode 4: Further to this are tv series and miniseries from film artists like Lynch and even Bruno Dumont now, harking back all the way to the beginning and Feuillade? Rivette surely references him (although I cannot think where.)
I answered: I am mulling this over myself. One common factor is the way Rivette films Berto and Leaud in the Paris streets. Clearly there were no Assistant Directors shepherding extras through the scene in the background. People stop and stare at the camera in the same way as they did in Feuillade's serials. They of course, or at least the four most famous ones, were all about conspiracies, disguises, letters that go astray etc. Feuillade captured the look of Paris at a very specific time just as Rivette does.
Kiki Fung added suspense: Without giving a spoiler, the characterisation of Berto in the last episode draws references from Feuillade's. There is a more specific reference but let's talk about it when you finish.
|Lucie de Graff (Francoise Fabian), Frédérique (Juliet Berto)|
on the roof of the Moulin Rouge, Out 1
|Paris Nous Appartient|
|Colin (Jean-Pierre Leaud), Pauline/Emilie (Bulle Ogier)|
End… so far. We are at the point of identifying quite a few of the members of the Treize. We are at a loss to know what they are conspiring about. I’m wondering if we ever will for it seems Rivette’s interest may be merely in the mechanics of membership rather than its purpose.