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Ne touchez pas la hache 2007
Description: In Majorca, in 1823, a French general, Armand de Montriveau, overhears a cloistered nun singing in a chapel; he insists on speaking to her. She is Antoinette, for five years he has searched for her. Flash back to their meeting in Paris, he recently returned from Africa, she married and part of the highest society. She flirts with him, and later he's captivated. His behavior is possessive, insistent. Then, it is her turn to become obsessed. Letters, balls, scandal, a kidnapping, and an ultimatum bring her to the cloister and him to melancholy.
Released: 28 Mar 2007 Director: Jacques Rivette Writers: Honoré de Balzac (novel), Pascal Bonitzer, Christine Laurent, Jacques Rivette Actors: Jeanne Balibar, Guillaume Depardieu, Bulle Ogier, Michel Piccoli Genres: Drama, Music, Romance
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Ne touchez pas la hache Reviews:

Jacques Rivette, who's almost 80 years old, seems actually to have definitively abandoned the lighten globe he gaves glimpses of in the unbelievable "Va Savoir" and in the musical "Haut Bas fragile" (which has more down than up), two films full of youth and wit. He gets back with "Histoire de Marie et Julien" in 2003 in a darker and saddest universe (and also, let's be honest, a method more boring one). "Ne touchez pas la hache", with its depressive tone, its damaged storyline and its Balzac's "Histoire des 13" adaptation, definitely belongs to the second part of Rivette's films (that is darker and boring...), but manage to be much more passioning than Rivette's last opus.The film is a cinematographic translation of Balzac's "La Duchesse de Langeais", where everything, from the structure in three parts with a flashback, to the dialogs, is respected. This serious exercise is a tiny bit academic, but the lack of imagination is tempered by the Romanesque density of the book, which keeps the spectator's interest awake during the all movie. This fidelity to the sad and unconsumed love storyline sometimes brings interesting and unpredictable changes. The turning mission of the movie, which says the seduction of an intrepid General by duchess full of frivolity, has for example a very various aspect in the ebook and in the movie, even if it's exactly the same thing. The stage deals with Montriveau kidnapping Antoinette, as a demonstration of his will, love and power, and she'll deadly falls in love with him, as a consequence of this act. In the realistic yet dramatic globe of Balzac's "Histoire des 13", this act is absolutely credible and logic, but in the soft and slow universe of Rivette, the stage almost appears unreal, as if it's only one of the Duchesse's phantasm, and you have to wait until the end to receive ride of this unreality's veil. The film is for that reason absolutely faithful to Balzac, but also absolutely private and definitely belongs to Rivette's private universe. And the interest of the film would have stayed relative, if the actors didn't bring live and movement to this static motion picture. It's indeed Jeanne Balibar and Guillaume Depardieu (most impressive in a intense and tortured Montriveau-Balzac) that creates the tension and the emotions, which would certainly have lack to this film without them.


Rivette has already shown he is a master in directing films in historical settings, as in Jeanne la pucelle or Suzanne Simonin. But in this one he now surpassed himself. I search it wonderful how he recreates the atmosphere of the early 19th century, how everything comes naturally and how features that probably took a lot of time to research are presented "en passant" rather than pointing out how various the globe was back then, which is a frequent flaw in historic movies. Also the pictures are are incredibly dense and of rare beauty. If you wish to receive an concept what bored aristocrats in the early 19th century felt like and how they killed their time, this is the film for you.If you are looking for action, a easy plot or references to actual issues, stay away from it. Now I think it is one of the best strengths of the film that Rivette leaves the storyline in its time and does not test to adapt it to the taste of today's audience (also a very common flaw in historic films - and a reason why I generally hate them).As for the storyline itself, I search it quite plausible and the actors receive it across very credibly. However, if you are a sane person with no neurotic traits (I admit I have some) you might search it hard to understand why the main characters torture every another that way. On the another hand, much of this is also rooted in the time in which the ebook was written.And yes, it is artificial, but it is so intently and I don't see anything wrong with that...


Jacques Rivette knows how create his feelings bare, then have them mysteriously vanish into dark corners. The same should be told about his characters. The disappearing act takes zone when other actor takes over, but the actor who has gone, stays with you; doesn't transport but lies in wait.A modern masterpiece from Rivette which gave me the excitement and awe I experienced when I first encountered Truffaut, Chaplin, Vigo, Renoir, and Becker. For others, it may be Rohmer, Godard, and Rossellini. It will be various for everyone else. I have seen almost all of Rivette's work up unto this point, so by telling this, I don't mean I am experiencing him for the first time. This movie just displays that subtle love of film-making I experience when I first saw these filmmakers. The daring moods the movie shifts between, carefully holding you tight through the minigames of passion being battled out between the two main characters.Its a shame folks did not appreciate this; I'm very sorry you didn't. The whole time your minds raced around the desire to hate the pacing of this film, thus the movie itself, a nice thing of beauty passed by you. You may never see it. I even came across someone who told they had been annoyed by Depardieu's character's wooden leg and found it ridiculous. That is the hero and that is also Depardieu. His father's greatness has certainly passed onto him.To loosely quote Henri Langois: "People are accustomed to crap when they have been fed crap their whole lives. Their throats become coated with it." To the folks that have walked out of this film, or the others who have selected to trust "they know the film's proper length" over the filmmaker's, I'm sorry. But it is an injustice on anyone's part to think they know more about the movies of Rivette than Rivette himself.But to the folks out there, the adventurous lovers of the cinema, DO NOT listen to the hostile words surrounding this film. It is splendid. It is other masterstroke in the career of a master like Rivette, and also a blow of justice to the wondrous pages of Balzac.



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