The chronicle of the first part of the retrospective is here .
February 20
Gold Duke of (1965) is a fictional film that seems to be a self-portrait as it shows similar to what we can imagine how Baratier makes his films.
The story is as follows: a penniless Duke (Claude Rich), father of ten children, receives from his wealthy uncle, a double-decker bus of India, which can accommodate and entertain his family while waiting to retrieve the castle . But to get the castle, it takes money: and the Duke does not and can not work. What he does not know is that the bus is gold. Besides, the servant of his uncle (Jacques Dufilho, huge) is in pursuit.
is a miraculous little comedy, which made the offhand charm. We think a Wes Anderson (and The Royal Tenenbaums in particular) more chaotic in form, but also held in his remarks.
Baratier part is that these filmmakers aristocrats, who want to prevail in any work on fun. We do not see the seams, but the pieces hold together. Because, without doubt, in the casualness, there is a filmmaker with a fixed idea.
Some scenes: the encounter with a married woman, magic, Daniel Emilfork without speaking with his teeth and his teeth, and the bailiff's visit when everyone is trying to conceal an ancient tapestry.
Nowhere in Africa (1977) and The cradle of humanity (1973), are documentaries made for television by Jacques and his wife, Nena Baratier, which has been the assistant of Jean Rouch. We saw little children in Rouch's films. Has also interested in them. These are interesting documentary, but marked by the spirit of the time (the remarks on education, in particular).
Satin Spider (1984) is a fantasy Sapphic with Ingrid Caven, Catherine Jourdan. Ingrid Caven is director of a girls' boarding school, Professor Catherine Jourdan dance at the school, and kleptomaniac. A young girl disappears. An inspector comes up, fine, with silk gloves that excite the dance teacher.
Eroticism, seeping into all of the 60 films of Jacques Baratier, here is more writing, more bourgeois (Catherine Breillat is the scenario). Despite the sometimes painful flange, the grand scene of the film (a pagan holiday on the island) is a wonderfully decadent and delusional.
February 21
Disorder (1948) and disorder at age 20 (1967)
To continue this story of obsession in Jacques Baratier, it must be said that there was one constant , who worked all his life: the disorder (that is, ten or fifteen years of glorious post-war Saint-Germain des Pres, before the kids' arrival in the sixteenth in Tabou dirty feet will look for local wildlife). There, the film, a number of versions implausible. I saw tonight in the first two. But until his death Baratier has thought of nothing else, pressing her daughter Diane to add a particular sequence, to remove this or that ...
For anyone who lives in Paris, these films seem to me essential. Essential to understand clearly what is had, and that there was more. To understand that what we complain today, it was already complaining in 67: the recovery of a bourgeois creative collective madness, the transformation of a blundering necessity in draft on-coded.
Nena Baratier, Jacques' wife, worked for Jean Rouch. Also, Jacques, who discovered the film in contact with a film crew while in Africa he had gone to paint and become a painter, is quick to apply anthropology to the district he knows well and which attracts and excites Saint-Germain.
Everyone is there: lettrists, existentialists, Greco, Vian Audiberti, memories of Artaud, Gabriel Pomerand, jazz, rock, theater, Roger Blin, Jean-Pierre Kalfon, Bulle Ogier Pierre Clementi - everyone, everyone who counted, all who do not yet know but Baratier see.
In Disorder shot in 1947/1948, showing St. Germain destroyed, deserted, poor, Baratier adds disorder at age 20 , taking pictures of Disorder mixed with other tours in 1967 in the same neighborhood when the situation is already beginning to deteriorate, when the Drugstore generates money and Boris Vian died in seeing the film they shot of his book. Paris, which was an oasis, became a wound, oozing the petty bourgeoisie and the good bad manners. The transformation is already happening there, in 1967. Bulle Ogier scream and see unbelievable things on stage, or singing Greco wander among the ruins (which will, 20 years later, a supermarket, where Baratier ask him to sing the same song) is something astonishing: those people in this near-primitive people, we must. And most of these people are dead. Since, in Paris, but nothing has been invented. Nothing new. It was only reproduced in more bland, more bourgeois, more timid, more chic, these forms were born there.
February 26
you interested in this? (1974)
is a commissioned film shot at a time when Baratier needed money to finish his film, The City -tin, which was censored because he attacked too close developers. Are you interested in this? is an erotic comedy that stands by his way of redistributing the cards sexuality. Everyone is entitled to his hour of wolves, whether the handsome young man, the beautiful young daughter, aunt ultra-released, the au pair, a father stuck, or even grandmother. Dialogues gays are very, very inventive, the scenery beautiful (a beautiful property in the South of France around which grow the skyscrapers as the grandmother of the sexes compared to concrete), the actors excellent, the characters fascinating intelligence and malice, and there's a hilarious scene where some characters are in a movie theater for a screening of Last Tango in Paris , and images that pass the screen are not those of Bertolucci, but a version parodied by Baratier. Most importantly, this film makes, in its aspect minor, Baratier address the heart of what I believe to be his subject - namely the ass. That is to say that sexuality circulates between people and unites them.
Jacques Dufilho, the actor and his characters (1963), is a portrait of Jacques Dufilho interspersed with excerpts from his sketches.
René Clair (1969) Collection, filmmakers of our time , is a portrait of René Clair, who, as so often in movies of this collection is gradually being a self-portrait of a filmmaker who shoots another. You learn a lot about the relationship of film to the song, and you understand why Baratier held his entire life to making comedies.
February 28
End of hindsight.
Three short films by Jacques Baratier
Pablo Casals (1955) tells the story of English musician who, after the coronation of Franco decided not to give concerts and withdrew to Prades in the Pyrenees, in France, where he created a festival that became world famous.
Eden Miseria (1968) shows some young people around the world who gathered in Kathmandu for Christmas, creating a utopian community over the Nepalese community.
Operation seduction (1974) is the name given to the mission of Francisco Meirelles, an official of the Indian Protection, coming into contact first with the tribe Cintras Largas previously unknown.
Three reports in the world, so: a withdrawal, as Glenn Gould, but more overtly political, after a huge success in the world, an international meeting, a first approach of human beings that the world knew.
Pablos Casals is the short film that attracts me the most, by the simplicity of its device. The musician is at his home in Prades, interviewed by a young woman. He started playing a song, he talks, he spent a record, he speaks again, and then he plays one last song. In thirty minutes and three songs, one life, and all the accumulated sadness.
Eden miseria is witnessing a worldwide movement. The images are contemplative and explanatory Baratier. Joan Baez as background accompaniment serves priestess immaterial.
Operation seduction comprises a sequence hilarious and troubling at a time: Baratier brought his daughter Marie-Ange with him to meet the Cintras Largas, which are struggling to unbutton his shirt. The father filmed it quietly, and the young girl finds herself caught between the excitement of the Indians and the voyeurism of his father, in the grip of two tribes. After Disorder, Operation seduction acts as a metaphor of Saint Germain des Pres, a tribe from another tribe but kind nonetheless. Then
there was the film Diane Baratier on his father for the collection filmmaker of our time, which is a nice document which, rather than deciphering the works of the filmmaker (who do not consider having a work , but pieces), offers a sort of comedy of tyranny between a father and daughter, ending a roar of laughter.
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