Blu-Ray Review: The Bitter Tears of Petra von Kant

Based on Fassbinder's own play, "The Bitter Tears of Petra von Kant" is set entirely in the bedroom of a Bremen apartment where Petra (Margit Carstensen) busies herself with a successful career as a fashion designer.
We see the cruel side of Petra early on with her callous treatment of servant Marlene (Irm Hermann), and go on to witness a draining downwards spiral as friends, family and a new lover are introduced to us via the all-female cast.
Petra's previous relationships are discussed with Sidonie (Katrin Schaake) while Marlene stands in the background, listening intently as silent witness to stories which contain fabrications, judging by the servant's facial expressions.

Another visitor to Petra's centre of her universe is Karin Thimm (Hanna Schygulla); a 23 year-old beauty who casts a spell over her host, and becomes her lover following Petra's promise to help turn her into a top model.
Before long, their relationship turns sour, with Karin's treatment of Petra becoming similar to the verbal abuse suffered by Marlene, and the introduction of Petra's mother (Gisela Fackeldey) and daughter Gabriele (Eva Mattes) further increases the harsh words and actions that pour out of Petra.

Overall, this is an emotionally draining film, driven by beautifully tuned performances and Michael Ballhaus' photography and lighting.
The bedroom features a reproduction of a painting - 'Midas and Bacchus' by Nicolas Poussin - which, along with Petra's bed, becomes another character in the film, sometimes dominating and always acting as a jury, deliberating on the events with eyes that watch from hundreds of years ago.
Towards the end of the film, life really does imitate art as the occupants of Petra's bedroom practically mirroring the imposing artwork.
The room itself is, by turn, claustrophobic, and sometimes really opens up to characters and their audience, while remaining within the wing of Fassbinder's theatrical direction.
The performances, too, are sympathetic to the story, conveying a multitude of emotions as real despair kicks in.
While Carstensen and Schygulla both excel in their roles, Irm Hermann deserves much praise for her portrayal of Marlene, who sometimes takes the guise of one of Petra's paintings, adopting still-life poses as real life turmoil surrounds her.Whether it's sketching designs for Petra, acting as nurse or simply through the clickety-clack of her typewriter keys, she's always there, right up to the finale which sheds some light on her tolerance of Petra's behaviour.

This is top-tier Fassbinder, and ripe for the kind of re-appraisal found in Diane Charleson's excellent commentary track found on Arrow Aacadmey's Blu-ray.

Diane looks at Fassbinder's turbulent family life; influences drawn from American melodrama and Bergman's "Persona"; points out the triangular relationships reflected in the framing; discusses the absence of men in the film and also praises Michael Ballhaus for the fluidity he brought to this production.
It's a stimulating, highly informative track and one that you should return to.

Next up is 'Life Stories: A Conversation With R.W. Fassbinder'. Made for German television in 1978 and moderated by Peter W. Jensen, the interview runs for 48m 29s.

Fassbinder talks about his childhood, his marriage; the reduction of freedom in Germany at the time and of his second home in Paris, declaring he felt more at home there.
"Berlin Alexanderplatz" is also mentioned, and he addresses why his films were not widely known at the time.
It's an enlightening piece, tinged with sadness that Fassbinder died at such a young age.

'Role-Play" Women On Fassbinder' (58m 41s)
Here, Carstensen, Schygulla, Hermann and Rosel Zech paint a picture of what is was like working with a genius who tore of the masks of those he was with.
Hermann talks about their marriage, and why she broke up with him while Schgulla declares his actresses were like "figures on a chess board".
A temperamental, highly focused individual was was a real genius emerges from the memories of some of the ladies who knew him best.
A valuable disc extra indeed.

Once again, this 4K restoration from original camera negatives yields impressive results with a beautiful film-like presentation.
"The Bitter Tears of Petra von Kant is available to buy now. Another great addition to Arrow Academy's catalogue.

Blu-ray Review: The Merchant Of Four Seasons/Beware Of A Holy Whore (Arrow Academy)

Arrow Academy has just released a boxset devoted to the films of Rainer Werner Fassbinder, containing 7 Blu-ray discs which cover 10 of his films.

Limited edition box set (1,000 copies) containing Love is Colder Than Death, Katzelmacher, Beware of a Holy Whore, The Merchant of Four Seasons, The Bitter Tears of Petra von Kant, Fear Eats the Soul, Effi Briest, Fox and His Friends, Chinese Roulette and The Marriage of Maria Braun
Brand new 4K restorations of the films from original camera negatives
High Definition Blu-ray (1080p) presentations
Original uncompressed PCM mono audio
Optional English subtitles on all films
Six audio commentaries: Adrian Martin on Beware of a Holy Whore, Alexandra Heller-Nicholas and Christian McCrea on The Merchant of Four Seasons, Diane Charleson on The Bitter Tears of Petra von Kant, Mark Freeman on Fear Eats the Soul, Ken Moulden on Effi Briest and Hamish Ford on Fox and His Friends
Two early short films by Rainer Werner Fassbinder from 1966, The Little Chaos and The City Tramp
My Name is Not Ali, Viola Shafik’s 2011 feature-length documentary on the life and death of El Hedi ben Salem, star of Fear Eats the Soul
Newly-filmed interview with actor Lou Castel on Beware of a Holy Whore
Newly-filmed interviews with actor Ulli Lommel on Love is Colder Than Death, Effi Briest and Chinese Roulette
Newly-filmed interviews with director of photography Jürgen Jürges on Fear Eats the Soul and Effi Briest
The Rainer Werner Fassbinder Family, an all-new featurette detailing the actors who worked with Fassbinder time and again throughout his career
Life Stories: A Conversation with R.W. Fassbinder, a 50-minute interview with the director conducted for German television in 1978
End of the Commune, Joachim von Mengershausen’s 1970 documentary portrait of Fassbinder and his troupe including rare footage of his actors rehearsing and Love is Colder Than Death’s premiere at the 1969 Berlin Film Festival
Role-Play: Women on Fassbinder, a 1992 documentary containing interviews with four of the director’s leading ladies, Margit Carstensen, Irm Hermann, Hanna Schygulla and Rosel Zech
Life, Love & Celluloid, a 1998 feature-length documentary on Fassbinder, written and directed by his regular editor, Juliane Lorenz
Rainer Werner Fassbinder, 1977, a candid 30-minute interview with the director
Original theatrical trailers for Katzelmacher, Beware of a Holy Whore, Fear Eats the Soul, Fox and His Friends and Chinese Roulette
200-page hardback book, exclusive to this limited edition box set, containing all-new writing by Tony Rayns, Gertrud Koch, Michael Pattison, Nick Pinkerton, Ashley Clark, Erica Carter, Alex Davidson, Glenn Kenny and Margaret Deriaz

The films are also being released individually throughout 2016.

Although he passed away at the absurdly young age of 37, Fassbinder had an astonishingly prolific career and these releases are essential for followers of world cinema.
During the next few weeks, I'll be taking a look at five of these films.

The Merchant Of Four Seasons

"The good die young and people like you come back."

When Hans Epp (Hans Hirschmuller) returns from a year away in the Foreign Legion, his mother (Gusti Kreissi) with the hostility of a bitter woman whose son has fallen well short of expectations.
Hans peddles fruit through the streets of Munich, aided by his wife Irmgard (Irm Hermann) who is determined to make ends meet for their young daughter and also for their marriage.
Hans has an alcohol problem, and we first see his real devotion to the demon drink when Irmgard interrupts a heavy session with his cronies, only to have a chair thrown at her, followed by a beating when he eventually gets home.
One heart attack later, and Hans' drinking and heavy lifting at work are curtailed by a Doctor's warning that drink and physical exertion will be fatal.

So, Hans and his wife hire a labourer to work the rounds. Before long, the money is rolling in but further unhappiness lies just around the corner.

It's grim subject matter to be sure, but compulsive vewing thanks to the excellent cast who represent family and a band of outsiders who all have a part to play in this sad story.
Hirschmuller is very good as the ticking clock that is Hans, earning both sympathy and disgust for the choices he makes.
His family - Heide Simon as his married sister, brother-in-law Kurt played by Kurt Raab and sister Anna, the brutally honest one (Hanna Schygulla) - are dysfunctional in the extreme, while the hired help enter the picture with cold, calculating parts to play.
Top billing, for me, has to be Irm Hermann wo delivers a beautifully multi-layered performance, packing in all the emotions as she fights to keep the family unit together. Joy, pain, despair and a very real fear are all present and conveyed so very well.
Praise, too, for Ingrid Caven as Hans' great love. Her screen time may be limited but she leaves her mark like a stash of old letters that silently chronicle a love that could never be.
All of these actors are well served by the photography of Dietrich Lohmann whose exquisite framing helps make this a true work of art.
Highlights are many, but my own choice for the most affecting is the shot that follows a distraught Irmgard as she heads home through darkened streets past a variety of shops; one of which sells bridal gowns that should mark the beginning of a joyous union. Unbearably sad.

Those of you yet to experience a Fassbinder film, and who have perhaps been alerted by Arrow's deluxe treatment of other important director figures, may well find this a good place to begin.

"The Merchant Of Four Seasons" is accompanied by a commentary track from Alexandra Heller-Nicholas and Christian McCrae.
The pair combine well to deliver a track that will stimulate and inform newcomers and seasoned Fassbinder buffs alike.
We hear about the core issues Fassbinder brought to the table; the discomfort created by certain scenes in this film;
a funny story concerning the director's 8 month hiatus prior to shooting Merchant and analysis of when the films moves from cinematic to theatrical.
There's also praise for Hermann's performance; exploration of Fassbinder's attitude towards women - the director's own words being quoted on several occasions which adds to the wealth of information complied - and critical reaction to the film, which is sometimes challenged.
This serves for a lively, informative track that manages to fit in cast and crew information, and director's Fassbinder inuluenced and was influenced by, including Michael Mann and Douglas Sirk. Listen out, too, for Alexandra's wonderful description "a parody of mourning". A job well done.

Beware Of A Holy Whore

Rainer Werner Fassbinder's tenth film - an engrossing study of a film shoot from hell - was set in Spain and shot in Italy, and that's a consideration when one studies the sense of dislocation that's prevalent in this picture.
Lou Castel plays Jeff, director of this film-within-a-film and one of the few people to have a identifiable role in proceedings.
Jeff arrives on the set to find a motley collection of cast and crew - some interchangeable - who congregate around of bar area of the hotel lobby where they consume copious quantities of alcohol, while lust, jealousy and violence hang heavy in the air.

We have Fassbinder himself playing what appears to be the producer; Hanna Schygulla as a Monroe-esque Goddess clad in white; Eddie Constantine playing himself, effortlessly conveying real star quality; Uli Lommel's wanna-be director and a cast of supporting players who mostly become infected by the creeping moral malaise which covers this film.
Jeff's project is pitched as being against a certain kind of brutality that's sanctioned by the state, and includes two brutal murders which involve Constantine who initially draws the line at performing his characters deadly work.

The first half of "Beware Of A Holy Whore" is composed of long takes, while the second half contains a multitude of shorter scenes that jump about to such an extent, it's often confusing to get a handle on what's happening and when it occurred. For all that, it's a stimulating piece of work that presents the madness of a film set where missing materials, bouncing cheques and various warring factions combine to push the director towards the edge.
Once again, Fassbinder moves between the cinematic and the theatrical with beautifully composed framing shots from the director and his DOP Michael Ballhaus.
In many ways, "Beware Of A Holy Whore" would make for a compelling double bill with Abel Ferrara's "Snake Eyes" (aka "Dangerous Game") with the human wreckage of an ugly shoot ready to explode at any moment.

The excellent Adrian Martin takes the microphone for a commentary track that begins by examining a story from Werner Schroeter at the beginning of the film, and Adrian also notes how many of the cast were already film directors (including Schroeter) or would eventually move into this field.
Adrian talks about Fassbinder's early career; the connection between Beware and "Whity"; the director's use of music in this film; points out the influence of Sirk, Ray, Godard and Warhol in a commentary that takes in everything from the fragmented approach of the second half Of Beware to individual performances.
Listen to this and you'll immediately want to watch the film again.

A 2m 41s theatrical trailer is followed by "Castel As Fassbinder". This 9m 53s interview includes the story of how Lou eventually got tthe role of Jeff; his thoughts on working with the late director and his verdict on the film.
It's a nice way to end a disc that provides beautiful 4K restorations of both films.

Blu-ray Review: Five Dolls For An August Moon (Arrow Video)

Mario Bava's "Five Dolls For An August Moon" (1970) was deemed to be his worst film by none other than the great man himself.
I respectfully disagree with this brutally frank opinion, as Dolls is a showcase for Bava's artistry and ingenuity.
Mario became involved with the project as a 'gun for hire', replacing the original helmsman, and was immediately confronted with a script he labelled as a joke.
The screenplay was loosely based on Agatha Christie's "Ten Little Indians" and though it's the weakest aspect of the film, what it does do well is to help generate some tense scenes.

The story concerns the formula for a new type of industrial resin, pioneered by Professor Gerry Farrell (William Berger).
The inhabitants of a remote island retreat anticipate a weekend of relaxation with some hard-nosed business at the top of the agenda. The Professor's formula attracts very lucrative offers from a trio of likely lads who seek possession of this valuable information.
Farrell's wife Trudy (Ira Furstenberg); sex kitten Marie (Edwige Feneche); wife-slapping, womanising George (Teodoro Corra) and Jack (Howard Ross) are all part of a group whose chances of survival grow slimmer by the minute, amidst the greed and deception.

Following a hoax stabbing, the real slayings begin, with a series of murders committed off-camera: presumably a directorial protest against the material he was given to work with.
This one really is a dry run for "A Bay Of Blood", with a large dose of the experimental at play, amidst amazing glass matte paintings and other ingenious compositions to give your 'pause' button a real workout.
Check out the crystal balls tumbling down a staircase, straight into a bathroom that plays host to another dead body; the scenes where the recently departed hang in a freezer beside real slabs of meat; the camera setting up the cast by zooming into their eyes, only to find an emptiness that matches their very souls, and a shot involving a scarf that demands repeated views.
While Bava couldn't fix the screenplay, he could push himself to create and solve visual problems which ensured Dolls is a stimulating affair, with Piero Ulmiliani's score matching the director's vision and innovative style.
Antonio Rinaldi's cinematography - shot under the watchful eye of his director - captures and contrasts cold interior beauty with the picturesque outdoor setting, with colours that really pop in Arrow Video's strong Blu-ray presentation.

Dolls is a worthy addition to Arrow's Mario Bava Collection; middle-tier Bava at best, but fascinating nonetheless.
The film is accompanied by a Tim Lucas commentary track, which begins with the assertion that "Five Dolls For An August Moon" was misunderstood by its own director.
Tim tlaks about the use of paintings in the film; the soundtrack -"one of the greatest scores Bava ever worked with" - and he discusses the director's craftmanship. Tim also compares certain scenes to other Bava films, such as "Kill, Baby...Kill!", "Danger:Diabolik" and "Planet Of The Vampires".
Those of us pondering the identity of the original director of this film will be intrigued by Tim's theory.
Another top-notch commentary from - for my money- the best in the business.

Fans of the excellent score will be pleased by the inclusion of a music and effects track, and there's also a documentary to savour.
While seasoned Bava buffs will undoubtedly have already seen "Mario Bava: Maestro Of The Macabre", it's easily worth repeat viewings, and newcomers will find it essential.
Here, we get input from the likes of Alfredo Leone, Sam Arkoff, Joe Dante, Tim Burton, John Carpenter, Carlo Rambaldi and Tim Lucas, while Mario's family are represented by son Lamberto, grandson Roy and granddaughter Georgia.
There are clips from "Baron Blood", "Black Sabbath" and "Black Sunday" to name but a few, and an abundance of insight and anecdote covering the great man's career.
There's also a collectors booklet featuring new writing by Glenn Kenny, and a new essay by Adrian Smith on the Fancey family and their efforts to deliver foreign exploitation titles to the UK during a three decade period.
"Five Dolls For An August Moon" is a Region B release, and available to buy now.

Blu-ray Review: Underground (Emir Kusturica) BFI

Emir Kusturica's magnificent beast of a film earned him the Palme d'or in 1985: the second time he's won this prestigious award.
"Underground" also attracted fierce criticism, with accusations of engaging in Serbian propaganda, and his use of documentary footage also upset many viewers.
The film centres on Blacky (Lazar Ristovsky) and Marko (Miki Manojlovic)best friends who are both engaged in selling arms to partisans.
Gorgeous actress Natalija (Mirjana Jokovic) soon drives a wedge between the pair, and the lovestruck buddies eventually find themselves further separated by a terrible deception.

Marko, driven by jealousy and pure greed, keeps his friend below ground in a cellar for 20 years, feeding him the lie that the second world war is still going on above his head, with air raid sirens and other bogus methods ensuring he stays firmly out of the picture.
Above ground, Marko prospers, making hay with his life and career as time marches on towards a day of reckoning.

While some people may not care for the main players - who boast few redeeming features between them - they are undeniably fascinating to watch as the years overtake ambition and personal gain en route to sobering old age.
Wounded, weary faces are much in evidence during the many sombre moments, yet there are also scenes of priceless comedy that lighten the load, with running gags, a hilarious sequence where a bicycle headlamp assists a most unorthodox birth and several instances of pure slapstick: do look out for the riotous wedding scene where the shellshocked bride - betrothed to Black's son - sits wondering just what the hell she's married into as a revolving band plays on regardless, and the most talented chimp this side of Argento's "Phenomena" who brings the war a little bit closer to home.
This carrot and stick approach, for me, works beautifully, elevating the film and ensuring it's one of the quickest 170 minutes you'll encounter.

Serious study of relevant historic periods may well cast "Underground" in a different light, but the many arresting visuals and striking, layered performances do make for compelling viewing.

This BFI release consists of a Blu-ray containing the 170 minute version of "Underground", plus 2 x DVD discs which include Kusturica's six-part tv version, "Once Upon A Time There Was A Country" which runs for 5 hours 15 minutes.
Disc 2 contains 4 episodes, running for 3 hours 7 minutes, while the 3rd disc delivers episodes 5 & 6, running for 1 hour 41 minutes.
This extended version is able to spend more time on characterisation and also tightens the narrative considerably, bringing a greater degree of coherence, while the scenes below ground have a greater kick now, adding to the enormity of a deception that ran for two decades.

"Underground" has certainly acquired a cult following, and those people will be delighted with this release.
Image quality on the 3 discs is excellent, providing a fitting showcase for Viko Filac's stunning cimenaphotography, with an abundance of fine detail amidst robust colours.

The extras begin with "Shooting Days" - a 1996 documentary by Aleksander Manic - which follows the making of "Underground" and runs for 73 minutes.
It's a fascinating piece, pitching the story as a final scream for the old Yugoslavia, with cast and crew really buying into their director's vision.
With the atmosphere varying from tense to exuberant, the cast and crew are seen coping with a script which changed almost daily as new ideas were thrown into the mix.
The 29 minute EPK makes for a good companion to "Shooting Days", comprising of behind-the-scenes footage and interviews with Kusturica, Mirjan Jokovic, Lazar Ristovski, Miki Manojlovic and production designer Miljen Kljakovic.
Here, Lazar talks about his portrayal of Blacky - " a pre-war idler" - while Miljen discusses production design, with an interesting look at the ageing process for the three leads.
There's also praise for Goran Bregovic's extraordinary score, some b-roll footage of the wedding and Mirjan holding forth on her character and its development during the 18 month shoot.
A booklet accompanies this set, containing enlightening essays from Sean Homer, Dina Iordanova and Michael Brooke which add historical context to this film.
This BFI set is available to buy now, and comes highly recommended.

Blu-ray Review: The Jacques Rivette Collection (Arrow Academy)

Jacques Rivette sadly passed away on 29th January 2016, and left a rich body of work to study and savour for all time.
Rivette began his career as a film critic, going on to become a director and part of the famous French New Wave.
Arrow Acadmey's Blu-ray set celebrates the work of this innovative filmmaker with some top-tier films, including a legendary project that runs for almost 13 hours. This is our first port of call here.

Out 1: Noli Me Tangere

Made in 1970, Jacques Rivette's elusive film has received only sporadic screenings down the years, remaining a 'Holy Grail' for cinephiles.
"Out 1" comprises of 8 episodes that vary in length, from 73 minutes to 109, with the majority hovering around the 100 minute mark.
It's a hefty viewing commitment, but let me say right from the word go that it's absolutely worth every second of your time.

"Out 1" has many characters to identify and follow, beginning with two theatre groups, each rehearsing a play by Aeschylus: "Seven Against Thebes" and "Prometheus Bound". Their rehearsals are fascinating - sometimes frightening - to watch, with posture, delivery of lines and individual interpretation combining to produce intensive periods of work where anything can happen.
The Prometheus clan are led by Thomas (Michel Lonsdale); a serial-smoking intellectual who encourages his troupe to give themselves totally which results in exercises of terrifying physicality. Frequently, events threaten to spiral out of control, with the very real danger of someone getting badly hurt.
The Thebes group use literary and philosophical influences in search of how their performances should be shaped and - like Prometheus - it's fascinating to observe.
Later in the film, both groups are breached by an outsider: Prometheus by Thomas' friend Sarah (Bernadette Lafonte) who is enlisted partly to help remove a creative block, while Renaud (Alain Libolt) joins Thebes, only for the production to unravel.
Outside influences play a major part here, with two characters in particular making their mark: Colin (Jean-Pierre Leaud) first appears as a supposedly deaf mute who stamps 'business cards' which he presents at cafe tables, with the aim of collecting money, accompanied by blasts of his harmonica.
This ruse earns him a steady income, until one particular earning trip leads to him receiving the first of three cryptic notes. Rivette's film was inspired in part by Balzac's "La Comedie humaine" and the "History Of The Thirteen": 3 short novels concerning a powerful secret society in nineteenth-century France.
Lewis Carroll's "The Hunting Of The Snark" also served as an influence, and the sources combined send Colin on a mission. He suspects the notes allude to the nearby presence of a modern-day group, though his meeting with a Balzac expert (played by Eric Rohmer) fails to provide any answers. But, the search goes on, with Leaud delivering a brilliant physical performance that will stay with you.

The second character to encounter the shadowy world of 'The Thirteen' is Frederique (Juliet Berto); a young woman who again obtains money by deception, this time sweet-talking men out of their money, using her beauty and feminine wiles.
Frederique steals some letters during a memorable encounter with a near-neighbour, and their contents lead her into a situation that is simply to big for her to handle.
Throughout its 12 hour plus running time, "Out 1" is a delight to witness and never outstays its welcome.
I'd previously read that some may find the first two episodes heavy going, but can only say that i was hooked right from the start.
What makes this feature even more remarkable is the fact that the dialogue was almost completely improvised with the cast receiving little or no direction from Rivette, who used their performances to shape events and locations for the next days shoot.
As a result, we get cast members who are sometimes stuck for words, yet manage to recover and fully explore the freedom they've been given.
A case in point is a conversation between Emilie/Pauline (Bulle Ogier) and Sarah. Both actresses began with little or no idea on how to proceed, but their claustrophobic encounter is beautifully played. This scene runs for just over 15 minutes, and is one of many highlights. It's also exquisitely directed, using mirrors (a constant theme here)to highlight the boundary between fantasy and reality.
Emillie/Pauline is one of the key characters here. Her husband Igor has been missing for six months and, together with the enigmatic Pierre, casts a shadow over proceedings as Pauline makes a decision regarding the incriminating letters.
These letters and their significance introduce other important characters, including Lucie de Graaf (Francoise Fabian): a lawyer who laughs off Frederique's blackmail attempts, issuing a chilling warning as the identities of the groups members are gradually revealed.

Like "Prometheus", "Out 1" is a coded, complex work and offers infinite replay value with regard to characters, mood and motivation, punctuated by several short, sharp shocks and an approach reminiscent of Free Jazz at it's most hypnotic.
Rivette felt his magnum opus to be too powerful for TV, and put together an alternate cut titled "Spectre", which also appears in this collection and will be discussed a little later.

"The Mysteries Of Paris" 1:49:32s

A valuable documentary populated by key participants, including Rivette, Bulle Ogier, Michel Lonsdale, Stephane Tchal Gadsieff (producer) and Hermine Karagheuz (who features heavily in "Out 1").
The director talks about similarities between cinema and theatre; gives the lowdown on "Spectre" and acknowledges Jean Cocteau as the major inspiration behind his decision to become a film director.
Lonsdale recalls his beach breakdown was inspired by a scene from Fellini's "La Strada", while Ogier and Karagheuz - both still gorgeous - hold forth on Rivette's methods and the demands placed upon the cast.
It's a nice companion to the main feature, amplifying just how much of an achievement it was.

Out 1: Spectre

With a running time of approximately 4 hours 24 minutes, "Spectre" emerges as more than just a condensed version of "Out 1".
Here, you can discern subtle differences that increase appreciation of its lengthier sibling, while at the same time adding depth to characters portrayed by some very fine actors and actresses.

The rehearsals for "Prometheus Bound" and "Seven Against Thebes" are dramatically cut down, and while they provided absorbing viewing in the longer version, their absence here perhaps allows the film space to breathe and amplify the tension elsewhere. Some of my favourite scenes were also absent but again, this allows a greater degree of appreciation for other scenes and characters, such as Lucie and Emilie/Pauline.
Of course, details that one may have missed first time round can be picked up on such as the note advertising Bob Dylan bootleg albums in the window of 'L' Angle du Hasard' (the wonderfully named 'The Corner Of Chance'), or the mysterious footsteps and locked room at The Obade, possibly suggesting that at least one of the crew's missing members may be a lot closer than imagined.

"Spectre" is punctuated by a series of monochrome stills from the previous film, which combine with the live action - beautifully edited - to resemble a glimpse from a different world as though looking through a window. I felt a genuine sense of regret when both version ended.
I would most certainly recommend viewing the long version first, but if you're in a hurry, "Spectre" serves as a tasty primer before the main course.
The ending here works particularly well, with Jean-Pierre Leaud's final utterance an absolute joy, summing up his quest in 3 words. The final frames of the long version can also be seen in "Spectre", too.

Arrow's collection also includes 3 more films from this gifted director, and the next one in line is a real treat.

"Duelle"

Made in 1976 and with a running time of two hours, Jacques Rivette's "Duelle" is a bewitching and deliciously entertaining account of the lead up to a fateful duel between two goddesses's and a mortal.
It's Winter and the last night of the full moon when Lucie (Hermine Karahheuz) - a hotel night porter - welcomes a woman seeking a room for the night. Leni (Juliet Berto) is, to all intents and purposes, Lady Christie: partner of Lord Max Christie for seven years, and now seeking his whereabouts. Lucie is enlisted to do some strictly amateur detective work, which involves ticket girls from the Club Rumba, a woman named Sylvia Stern (Claire Nadeau) and brother Pierre (Jean Babilee) who worked with Lord Christie and is involved in the search for a Fairy Godmother stone that's been missing for 200 years.
Blonde Goddess Viva (Bulle Ogier) is another interested party, with possession of the stone enabling her to remain on earth.
Leni requires the stone for the same reason, as both are currently allowed to walk amongst us for just 40 days each year.

Queen Of The Sun vs Queen Of The Night is top of the bill here, as the first full moon of Spring draws ever closer, with Lucie and Pierre's hunt for the stone throwing up a dead body and some highly charged situations: do look out for the literally shattering scene involving one of Rivette's beloved mirrors.
Beautifully paced and superbly shot and lit by William Lubtchansky, "Duelle" is, for me, already one of this year's nicest surprises and far from being an also-ran in this collection.
It's a film that offers considerable replay value, offering a fascinating view of Paris at the time, with its story combining love, deception, murder and mystery, played out by a fine cast.
For many, this will be a first view of "Duelle" and it's quite a treat.

Remembering Duelle (10m 59s)

Bulle Ogier and Hermine Karagheuz return, this time recounting their experiences on "Duelle".
Hermine admits she's forgotten much about her role, but recalls a straightforward shoot, with a highly charged, mysterious atmosphere.
Bulle tells of her close relationship with Juliet Berto, and explains they had to keep their distance here so as not to affect their characters motivations.
Hermine also reveals she suffered from stage fright prior to filming. It's quite a moving experience to witness these fine actresses discussing their involvement in a film that can now be enjoyed by so many people.

Noroit

"Noroit" was shot in 1976 - the same year as "Duelle" - and was again lensed by William Lubtchansky.
It was shot on the Brittany coastline, centring on s small island where a brother and sister are washed up on the beach.
Morag (Geraldine Chaplin) awakens next to her brothers' lifeless body and for the next 134 minutes becomes embroiled in a mental and physical battle with pirate Queen Giulia (Bernadette Lafonte). Buried treasure -consisting of gold and diamonds plundered from vessels - lies at the centre of this wholly experimental work, allowing the director to once again indulge in his passion for constructing a trail leading to what lost hearts most desire.
"Noroit" is not the easiest Rivette film to get a handle on, but that doesn't make it any less worthy.

There's a poetic, other-wordly feel about this film that often reminded me of the work of Jean Rollin, and the striking on-camera musical trio greatly add to the air of improvisation and frequently demented turns by a cast that also includes Kika Markham and Humbert Balsam.
The beauty and mystery of the island are expertly captured by Lubtchansky, with magic hour shots, picturesque surroundings and exquisite interior details making this visually stimulating.

While it's true that "Noroit" - partly based on Cyril Tourneur's "The Revenger's Tragedy" - does take time to cast its spell, it is most certainly worth perseverance, with Chaplin at the centre using looks and gestures that say just as much as the lines she delivers.
By turn infuriating and captivating, "Noroit" looks ravishing in this splendid home video incarnation, and an essential port of call for those in search of unorthodox adventure.

Merry-go-Round

The final film in this most special collection was made in 1981, running for 160 minutes.
Maria Schneider was keen to appear in a Rivette film, and pushed for Joe Dallesandro to co-star.
Unfortunately, the production ran anything but smoothly, with Rivette deeming it to be probably his worst film.

"Merry-Go-Round" begins with Ben Phillips (Dallesandro) arriving in Paris to meet Leo (Schneider), this sister of his girlfriend Elisabeth (Daniele Gegauff).
Their father David Hoffman stole four million dollars before he was reportedly killed in an accident.
A former mistress of his is hot on the tail of the missing cash, with Ben, Leo and Elisabeth also following the trail.
When Elisabeth is abducted, the two leads must attempt to locate her whereabouts and join up the dots in another of the director's treasure hunts.

While Schneider and Dallesandro began this film as firm friends, their relationship took a turn for the worst, with Schneider frequently threatening to leave the production.
Add to this an often confusing screenplay, and you hardly have a recipe for success.
Well, I'd certainly argue that "Merry-Go-Round" deserves its place in this collection, being a slow-burner that requires several viewings to fully appreciate.
Dallesandro and Francoise Prevost (who plays scheming lawyer Novick) are well worth watching, and even the off-par Schneider commands attention. Add to this Michel Berto, Humbert Balsam and the wonderful Hermine Karagheuz and you have a cast that largely makes the best out of what they were given.
There are several scenes that will stay with you, too.Check out the dinner table scene - exquisitely shot and lit by William Lubtchansky - the sequence where a character uses clairvoyant powers to eerily describe a fateful event taking place out of sight and Ben's flight through the woods with hunters in pursuit.

There's a very good film here that's struggling to get out, but there's more than enough to suggest repeat viewings will bring their own reward.

"Merry-Go-Round" is followed by some valuable supplementary material.

Scenes From A Parallel Life (51m 43s)
This is comprised of two Jacques Rivette interviews. Both ultra-rare.
The late director talks about his unfinished four film project; the woes associated with the "Merry-Go-Round" shoot; some of the actresses he's worked with; the music in his films, and speaks in glowing terms about William Lubtchansky. He also states that he believes his audience to be made up of intelligent people who have their wits about them.

Rosenbaum On Rivette (2m 25s)
Here, revered film critic Jonathan Rosenbaum talks about "Duelle", "Noroit" and "Merry-Go-Round", explaining this trio of films had a bad effect on Rivette's career, largely due to critical reaction.
Jonathan discusses the use of music in these films, and of the interaction between actors and musicians. He also provides an insiders knowledge and appreciation of "Duelle" and "Noroit", having been on-set for both.
It's a stimulating and informative video essay, and one you'll return to.

Image quality is very striking on all the features, with delicately handled grain, bold colours and intricate detail.
There's also more bang for your buck in the form of a book containing new writing on the film from Brad Stevens, Mary M. Wiles, Nick Pinkerton and Ginette Vincendeau.

This collection is a real jewel in the crown of UK Home Video, and deserves your most earnest attention.

Next Up On Wonderland

Just heard the very sad news that Jacques Rivette passed away today after suffering from Alzheimer's Disease for several years.
He'll be remembered as an extraordinary filmmaker, constantly pushing boundaries and perceptions in search of cinematic truth.
I'm currently working my way through Arrow's wonderful Jacques Rivette collection (the specs for this release appear below)and a review will appear shortly.
For now, let's pay tribute to this adventurous figure of the French New Wave and mourn his passing.

1st March 1928 - 29th January 2016 RIP

Blu-ray Spec for the collection

Limited Edition Collection [3,000 Copies]
High Definition Blu-ray (1080p) and Standard Definition DVD presentation of all films from brand new 2K restorations of the films with Out 1 supervised by cinematographer Pierre-William Glenn
Original mono audio (uncompressed PCM on the Blu-rays)
Optional newly-translated English subtitles for all films
The Mysteries of Paris: Jacques Rivette’s Out 1 Revisited – a brand-new feature length documentary by Robert Fischer and Wilfried Reichart containing interviews with actors Bulle Ogier, Michael Lonsdale and Hermine Karagheuz, cinematographer Pierre-William Glenn, assistant director Jean-François Stévenin and producer Stéphane Tchalgadjieff, as well as rare archival interviews with actors Jacques Doniol-Valcroze and Michel Delahaye, and director Jacques Rivette
Scenes from a Parallel Life: Jacques Rivette Remembers – archive interview with the director, in which he discusses Duelle (une quarantaine), Noroît (une vengeance) and Merry-Go-Round, featuring additional statements from Bulle Ogier and Hermine Karagheuz
Brand-new interview with critic Jonathan Rosenbaum, who reported from the sets of both Duelle (une quarantaine) and Noroît (une vengeance)
Exclusive perfect-bound book containing new writing on the films by Mary M. Wiles, Brad Stevens, Ginette Vincendeau and Nick Pinkerton

DVD Review: The House On Pine Street

Partly funded by a Kickstarter campaign, "The House On Pine Street" is a joint directorial effort from Aaron and Austin Keeling, concerning a most undesirable residence in Kansas.
Luke and Jennifer (Taylor Bottles, Emily Goss) have moved from Chicago to prepare for a life-changing experience.
Jennifer is seven months pregnant, and her partner sees their new home as a perfect environment to begin to raise a child.
Jennifer, however, feels ill at ease there, right from the word go.

A house-warming party - organised by her overbearing mother Meredith (Cathy Barnett) - has much the same effect on psychic chiropractor Walter (Jim Korinke) who notes the house has "an unusual energy".
Knocks on the door with no-one in evidence; the lid of a cooker moving unattended and sundry unexplained occurrences heighten Jennifer's nervous state, though it's the presence of someone/something behind her in the shower that really ups the ante: especially when her husband walks in a moment later.

Convinced the house is haunted, Jennifer asks for Walter's help, only to be told he's never had any success in his quest for evidence of the 'other side', and wants nothing more to do with the supernatural.
Is this the truth, or has he sensed something too powerful, too malevolent, to deal with?

As the disturbing events escalate, Jennifer's fragile mental state deteriorates further, causing Luke to question her sanity. Are the fears of impending motherhood edging her towards a breakdown?
Is Luke having an affair with Meredith, with the scheming pair feeding her hallucinatory drugs in an effort to push her over the edge? Or, is the house really haunted?

Perhaps this seemingly unquiet residence has its own energy which is colliding with Jennifer's to produce projected sights and sounds, by triggering a replay of a time gone by?

The Keelings have certainly used their funds so very well here, creating a most unsettling atmosphere, with shadowy figures, disconcerting sounds and a genuine sense of dread that hangs heavy in the air.
While the film does sometimes wear its influences on its sleeve - "The Haunting", "Rosemary's Baby" and "Amityville" spring to mind - a strong identity of its own and subtle use of scare tactics should see its already solid reputation grow.
A fine central performance by Emily Goss; fluid cinematography from Juan Sebastian Baron and a suitably eerie score from Nathan Matthew David and Jeremy Lamb add much to a film that offers replay value on DVD.
"There's always an explanation" declares our luckless paranormal investigator. You'll have to wait until the bitter end to see if the Keelings offer one and it's an entertaining, gripping ride for sure.

"The House On Pine Street" will be released in the UK by Second Sight on 1st February 2016.