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La belle noiseuse (1991)

Unrated | | Drama | 4 September 1991 (France)
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1:48 | Trailer

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The former famous painter Frenhofer revisits an abandoned project using the girlfriend of a young visiting artist. Questions about truth, life, and artistic limits are explored.

Director:

Jacques Rivette

Writers:

Pascal Bonitzer (scenario), Christine Laurent (scenario) | 4 more credits »
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5 wins & 6 nominations. See more awards »

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Cast

Cast overview:
Michel Piccoli ... Edouard Frenhofer
Jane Birkin ... Liz
Emmanuelle Béart ... Marianne
Marianne Denicourt ... Julienne
David Bursztein David Bursztein ... Nicolas
Gilles Arbona Gilles Arbona ... Porbus
Marie Belluc Marie Belluc ... Magali
Marie-Claude Roger Marie-Claude Roger ... Françoise
Leïla Remili Leïla Remili ... La servante
Daphne Goodfellow Daphne Goodfellow ... Deux touristes
Susan Robertson Susan Robertson ... Deux touristes
Bernard Dufour Bernard Dufour ... La main du peintre
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Storyline

The former famous painter Frenhofer lives quietly with his wife in his countryside residence in the French Provence. When the young artist Nicolas visits him with his girlfriend Marianne, Frenhofer decides to start working again on a painting called 'La Belle Noiseuse', which he gave up a long time ago. And he wants Marianne as a model. The ensuing creative process will change the characters' lives. It will become a struggle for truth and meaning, and the question about the limits of art will arise. Written by Jens Bertheau <bertheau@mi-lab.fh-furtwangen.de>

Plot Summary | Plot Synopsis

Taglines:

The torment of creating the naked beauty on canvas!

Genres:

Drama

Certificate:

Unrated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Switzerland

Language:

French | English

Release Date:

4 September 1991 (France) See more »

Also Known As:

A Bela Impertinente See more »

Filming Locations:

Assas, Hérault, France

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Box Office

Opening Weekend USA:

$1,887, 26 November 2017, Limited Release

Gross USA:

$408,571
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (dvd)

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The film is included on Roger Ebert's "Great Movies" list. See more »

Goofs

At the 2:13 mark (blu-ray edition) - as the camera begins to slowly close on Marianne settling on the couch, a mic sneaks into bottom of frame. See more »

Connections

Referenced in Kiss and Run (2002) See more »

Soundtracks

Petrouchka
Music by Igor Stravinsky
Performed by Orchestre National Ortf (as Orchestre National de la RTF)
Conducted by Pierre Monteux
(avec l'autorisation des disques Montaigne)
See more »

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User Reviews

 
A richly rewarding cinematic experience
1 August 2004 | by anhedoniaSee all my reviews

An absorbing four-hour masterpiece from Jacques Rivette. I cannot recall the last time I was so overwhelmed by a film.

"La Belle noiseuse" is a brilliant character study buoyed by two astonishing performances from the always-wonderful Michel Piccoli and the stunning Emmanuelle Béart. She's uncommonly gorgeous, has the most piercing eyes of any actress in recent memory and the way she bares her character's soul is completely entrancing.

This is a film for cineastes who enjoy complex, vividly-drawn characters and the slow unfolding of a story. Rivette takes his time telling us this story. We see the artist Eduoard get his studio ready - collecting his pencils and brushes, finding the sketchbook, filling glasses with water, rearranging the furniture, moving aside paintings.

And then there are those moments in this beautiful film where neither Eduoard nor Marianne speaks. All we see is the artist's hand scribbling in his notebook, maybe the nude model's pose and her glare. The only sound is that of the artist's nib scratching paper as Rivette shows us the preliminary sketches the artist draws before he gets to the canvas.

This goes on for several minutes, yet it's far from dull. On the contrary, it's absolutely riveting. We can't peel our eyes away from the artist's hand. We're captivated as the human form takes shape on the paper and canvas. It's brilliant stuff.

This was the film that made Béart a star. Rightly so, too. Her transformation from the loving wife to the reluctant model to ultimately the provocateur is utterly believable. Her performance doesn't have a false moment. It's as intelligent as it is provocative, one that could easily have been overwrought, but is played to perfection.

The scenes between Piccoli and Béart are fascinating because their relationship grows so unconventionally. Rivette turns their relationship into an engrossing battle of wits. Initially, Eduoard manhandles Marianne, moving her arms and legs about as if she were a mannequin. She is shy, uncomfortable with being nude. But as the hours progress into days, her comfort level grows. Soon, as the artist grows weary, it's the model who spurs him on.

True, four hours is a heckuva long time to spend at a film. But there are hugely popular and well-made thrillers that don't come close to being as mesmerizing as this exquisite work of art.


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