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La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/36/16/001d1636.jpeg)
La Belle Noiseuse (1991)
DVD9 + DVD5 | VIDEO_TS | PAL 4:3 | Cover | 03:48:51 | 7,00 Gb + 4,10 Gb
Audio: French AC3 2.0 @ 224 Kbps | Subtitles: English
Genre: Art-house, Drama | Artificial Eye #ART450
DVD9 + DVD5 | VIDEO_TS | PAL 4:3 | Cover | 03:48:51 | 7,00 Gb + 4,10 Gb
Audio: French AC3 2.0 @ 224 Kbps | Subtitles: English
Genre: Art-house, Drama | Artificial Eye #ART450
Director: Jacques Rivette
Stars: Michel Piccoli, Jane Birkin, Emmanuelle Béart
In this fascinating and unconventional examination of the creative process, an artist near the end of his career finds new inspiration in a young model. Edouard Frenhofer (Michel Piccoli) is a famous and well-respected artist who lives in a comfortable estate in the French countryside. At the age of 60, Frenhofer considers his career as a painter to be over; he says he no longer feels any inspiration to create, and his last attempt at a major work, a nude study of his wife Liz (Jane Birkin) called "La Belle Noiseuse" (The Beautiful Nuisance), has sat unfinished for ten years. Just as Frenhofer has lost his enthusiasm for his art, he has also lost his passion for Liz; their relationship is polite and friendly, but without enthusiasm. When Frenhofer tells Nicolas (David Bursztein), his young protégé, that he no longer feels the desire to paint, Nicolas suggests that he needs a more inspiring subject, and he offers his girlfriend Marianne (Emmanuelle Béart) as a model. Frenhofer is taken with Marianne's beauty, and, with Liz's cool approval, he and Marianne spend several arduous sessions together, exchanging ideas and opinions as Frenhofer methodically attempts to create a final masterpiece.
Winner of the Grand Prix at the 1991 Cannes Film Festival, Jacques Rivette's La Belle Noiseuse is about as good as any film about the creation of art can possibly get. Nearly four hours long, the film tells the story of Frenhofer - a once-famous artist - who hasn't painted anything worthwhile in ten years. He has aspirations to complete his latest work, "La Belle Noiseuse" ("The Beautiful Annoyance" or "The Beautiful Troublemaker"), which he thinks might just be his masterpiece, but has yet to find the right tools with which to do so. When an admiring artist and his girlfriend Marianne come to visit Frenhofer, he immediately regains his inspiration and persuades the reluctant Marianne to be his model.![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/7f/12/001d127f_medium.jpeg)
La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]]()
For a film with very little in the way of action, La Belle Noiseuse is surprisingly suspenseful and tense. Rivette builds this tension by taking his time. His camera glides languidly in and around the scenery, showing as little as possible of each individual drawing and painting until it is near completion. Through Michel Piccoli's wonderful performance as the tortured Frenhofer (and Bernard Dufour's painting and drawing), we get to see exactly how each piece of art progresses from blank page (or canvas) to finished product. While the film has a penchant for intricate detail, these scenes in particular show a dedication to detail and trust in the audience that few filmmakers would have the courage to attempt. Shots simply of Frenhofer drawing go on for minutes at a time, without cutting, creating almost a time-lapse effect as the drawings come to life.![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/81/12/001d1281_medium.jpeg)
La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]]()
Scenes between Marianne and the famous painter alone in his studio make up probably more than half of the film, and although they often find themselves doing the same things again and again, these scenes never become boring or predictable. Their relationship progresses naturally because Rivette allows them the time needed to gain confidence and trust in each other. It is a testament to the performances of Piccoli and Emmanuelle Béart (8 Women) that what begins as a troubled, hostile relationship transitions seamlessly into a sincere collaboration that both characters need to see through until the end.![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/82/12/001d1282_medium.jpeg)
La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]]()
To put it plainly, La Belle Noiseuse is a masterpiece of filmmaking. The only real mistake that Rivette makes is putting even the slightest bit of emphasis on the few subplots that run throughout the film. While these threads do very little to actually harm the film, they only keep the audience from seeing more of what is the true heart and soul of La Belle Noiseuse - the interaction between Frenhofer and his model. This film is so incredibly good at showing the often-torturous hard work of creating art that I could have easily stayed in the studio with Béart and Piccoli for the entire duration. Their performances are truly as stunning and passionate as the film itself is accomplished.
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/7f/12/001d127f.jpeg)
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/81/12/001d1281.jpeg)
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/82/12/001d1282.jpeg)
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/83/12/001d1283_medium.jpeg)
La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/83/12/001d1283.jpeg)
I even fail to hear people who are talking to me, because the verbal side of my mind is not engaged. Most films are a contest between the right and left brains, in which dialogue and plot struggle to make sense, while picture, mood, music and emotion struggle toward a reverie state. In "La Belle Noiseuse," the right side, the artistic side, of the viewer's mind is given the freedom to take over, and as the artist draws, something curious happens. We became the artist ourselves, in a way, looking at the model, taking up the tools, plunging into the preliminary drawings.![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/84/12/001d1284_medium.jpeg)
La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
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The artist and his model do not get along very well. He is almost sadistic in his treatment of her, addressing her curtly, asking her to assume uncomfortable poses, keeping an impolite distance between her concerns and his own. She hates him. He does not care. It is a battle of the wills.
But Jacques Rivette is an old and wise man, and so this movie doesn't develop along simplistic lines in which love soon rears its inquisitive head. Here is where Beart's intelligence comes in - hers, and her character's. The battle between the two people becomes one of imagination, a chess game of the emotions, in which small moves can have great consequences.![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/85/12/001d1285_medium.jpeg)
La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]]()
You may think you can guess what will happen. The artist will fall in love with his model. The wife and the boyfriend will be jealous. There will be sex scenes. Perhaps to some degree you are right. To a much larger degree, however, "La Belle Noiseuse" will surprise you, because this is not a movie that limits its curiosity to the question of where everybody's genitals will turn up.
The reason the movie benefits from its length is twofold.![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/86/12/001d1286_medium.jpeg)
La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]]()
First, Rivette takes all of the time he needs to show the actual physical process of drawing. These passages are surprisingly tactile; we hear the whisper of the pencil on the paper, the scratch of the drawing pen, and we see that drawing is a physical process, not, as some people fancy, an exercise in inspiration. Second, having given the artist time to discover his model on his canvas, Rivette then gives himself the time to discover his own models. While the artist and model in the film are investigating one another, Rivette stands at his own canvas and draws both of them.Excerpt from Rober Ebert's Review
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/84/12/001d1284.jpeg)
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/85/12/001d1285.jpeg)
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/86/12/001d1286.jpeg)
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/88/12/001d1288_medium.jpeg)
La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]
![La Belle Noiseuse (1991) [Artificial Eye #ART450] [ReUp]](https://pixhost.icu/avaxhome/88/12/001d1288.jpeg)
Special Features:
DISC ONE:
- The film (full-length version, part 1, 129:00)
- Interview with director Jacques Rivette (in French with optional English subtitles, 13:26)
- Interview with co-writers Pascal Bonitzer & Christine Laurent (in French with optional English subtitles, 21:08)
- Theatrical Trailer (1:01)
DISC TWO:
- The film (full-length version, part 2, 99:50)
- Filmographies of Jacques Rivette, Emmanuelle Béart, Michel Piccoli, Jane Birkin
Huge thanks to EceAyan for original upload.
No More Mirrors, Please.
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