Redwarmin This movie is the proof that the world is becoming a sick and dumb place

PodBill Just what I expected

Murphy Howard I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

ninecurses Over the years, I have read so many articles on Out 1, and have seen so many stills from it, that I felt as though I'd already seen the movie. Out 1 already existed for me in such a big way, that finally watching it could only lead to disappointment. Sadly, this was the case. As great as Out 1's legend is, for me it never comes together. It's all promise unfulfilled.There are Holy Grail movies: Films written and talked about in reverential tones, yet largely unavailable to the public. Until recently, "Out 1" was one of these, and having lived with its legend for many years, I was giddy the day it showed up on Netflix. An eight-part film totaling about 13 hours? I was binge-ready! Unfortunately, it took only about half way thru the first segment for my enthusiasm to wane.But oh is it ever ambitious, and almost every concept and character that we are introduced to is inherently interesting. One example is in how two different acting troupes work toward discovery in the play that each is planning to put on - It seems to be a great metaphor for this very film - but their rehearsal scenes go on (and on), and there are so many of them. 10, 20, even 30 minute (!!) scenes of actors writhing around on dirty theater floors? I love the slower pace of foreign films, but it was just too much.The acting? Jean-Pierre Leaud, who I usually find fascinating, here just annoys the crap out of me. The rest of a very large cast, many of whom were big in French cinema, may or may not be doing good work. With long, rambling scenes inside of the film's overall loose structure, I actually couldn't tell. Rivette usually has one camera going, and he just lets it roll. Even his veteran actors at times seem lost.If being loose and letting things "just play out" was what Rivette was going for, I think that he could have made his point in less than 13 hours. Considering how much love Out 1 continues to get, perhaps it's just me who is missing out. Yet I can't help think that he not only let his actors down, but that he let his viewers down, too.I'll leave it to other reviewers to get into The Thirteen, Balzac, Lewis Carroll, conspiracies, paranoia, etc. It IS all very fascinating to read about.Having read (and heard) so much over the years, about both the film and its legend, it felt as though I had already seen the movie. I could recall its characters, style, and elements with clarity. Unfortunately, having now seen it, that movie has been erased from my memory. I should have stuck with the legend. Sadly, the "Out 1" of my mind no longer exists.

Sindre Kaspersen French screenwriter, film theorist and director Jacques Rivette's fourth feature film which he co-directed and wrote with French screenwriter and director Suzanne Schiffman (1929-2001), is an adaptation of a novel by French 20th century author Honoré de Balzac. It premiered in France, was shot on locations in France and is a French production which was produced by producer Stéphane Tchalgadjieff. It tells the story about a theatre director named Thomas whom is rehearsing with his theatre group, another stage director named Lili whom is doing the same, a multicolored and playful person named Frédérique who says she is searching for her brother, introduces herself to many people and who has an agenda, a law practitioner named Lucie, a mother and shop owner named Pauline whom is planning on publishing a newspaper with some friends, a writer named Sarah and a quiet though sometimes talkative person named Colin who lives in an apartment in France and is looking for someone referred to as the Thirteen.Distinctly and masterfully directed by French filmmaker Jacques Rivette, this quietly paced fictional tale which is narrated from multiple viewpoints, draws an informative, mystifying and constantly changing portrayal of somewhat clandestine and collective human beings with a shared history who spends their time interpreting historic works of literature and their own psychological and emotional experiences of improvisation, a Frenchman motivated by a conspiracy theory and a pretender lost in deception. While notable for its versatile milieu depictions and distinct audiovisual innovation, this character- driven, narrative-driven and dialog-driven story about role playing, narrative fragmentation, the integral importance of interpreters of characters and how efficient and creative they are when treated with the dignity, humanity and professionalism which is characteristic for this creator and philosopher of cinema, the coexistence between fiction and reality within a cinematic context and the art of letting go and remembering with love, is an esoteric play with words where actress Juliet Berto performs magic in a scene with a man and a mirror and an unprecedented playact made the same year as the Manifesto of the 343 was published in the French magazine Le Monde, the year after the Roman Catholic Church named Italian 14th century Saint Catherine of Siena and Spanish 16th century Saint Teresa of Ávila as the first female Doctors of the Church, German citizens Ulrike Meinhof and Andreas Baader created the Red Army Faction and after the French New Wave period, depicts multiple interrelated and mystic studies of character and contains a rare score by composer Jean-Pierre Drouet.This twelve hour and forty minutes voyage into the heart of cinema from the early 1970s which is set in Paris, France in 1970 and where the role of the director, the actors and the spectator is distinctly defined, is impelled and reinforced by its crucial narrative structure, subtle character development, measured continuity, confidence in actors, discussions about acting, black-and-white photographs, Thomas playing on a flute, Colin and his harmonica, masterful scene with Colin and Pauline at the L'Angle du Hasard, comment by an actress playing a journalist: "I should like to know … what political thinking underpinned your action?" and answer by an actress playing a goddess: "No politics." and the timeless and dearly appreciated acting performances by French actresses and actors Juliet Berto, Michèle Moretti, Hermine Karagheuz, Edwine Moatti, Christiane Corthay, Bernadette Onfroy, Bernadette Lafont, Bulle Ogier, François Fabian and Pierre Baillot, Michael Lonsdale and Jean-Pierre Léaud. A transcendently communicative and at times poignantly hilarious work of majestic diversity and unparalleled versatility.

ametaphysicalshark More than anything else watching "Out 1, noli me tangere" was a completely unique and, as much as I hate the use of the word in relation to film, revelatory experience. For most of my life I have involuntarily dwelt on what I perceived as 'imperfections' in any book, film, television series, or album I was particularly interested in, and completely ignored the argument that the whole, the ultimate experience, overpowers any flaws to the point that they don't matter. By no means is "Out 1" a 'perfect' film by conventional standards, boom mics are visible, random passers-by in Paris stare with bewilderment at Rivette and his actors, some scenes (in my estimation) go on far too long, specifically the 'acting exercises', which are beautiful and fascinating at times and indulgent nonsense at their worst. At least, that's what I thought while watching the film. Looking back at "Out 1" as a complete work of art it is a triumph of style, of aesthetic, of humor, of storytelling and of acting, and the end product is, in its own unique way, 'perfect'. "Out 1" has an intimidating reputation, and most reviewers fail to point out that it is largely unwarranted. Most people know it as an outrageously long (it is nearly thirteen hours in length) hardcore art film. That is not true. "Out 1" was planned as a television series for French state TV, which refused to air it resulting in it being shown once, theatrically, over two days in 1971 and then disappearing for 18 years. It is, in intent, as much a conventional theatrical film as Dennis Potter's "The Singing Detective" or "I, Claudius". This is not in any way diminishing its status, in fact, it should encourage more people to see the film knowing that it was intentionally split into eight easily digestible episodes and flows like a great miniseries.Also, while the film has sections of impenetrability, and is ultimately confusing here and there, it does have a mostly linear and easy-to-follow storyline, at least for the attentive, intelligent viewer. It's also an incredibly entertaining storyline, and while I'm not going to describe it here, I'll just quote from Rosenbaum's review of the film, which does a nice job of summing up the main plot: "Then gradually, as in a vast novelistic fresco, more crisscrossing intrigues emerge -- some of which include a lawyer (Francoise Fabian), another member of Lili's group (Hermine Karagheuz), and a hippie boutique owner (Bulle Ogier) with a dual identity who provides the name for episode six, "From Pauline to Emilie," all by herself -- until all strands are intertwined. Eventually Frederique steals a batch of letters that point her in the direction of the same mystery Colin is investigating: a clandestine group of 13 people from different sectors of French society who, inspired by Balzac's Histoire des Treize (gracefully explained here by Eric Rohmer, in the role of a literary scholar), have come together to control Paris. Or perhaps the group has never existed as anything but a plan, one abandoned after the failed French revolution of 1968. Colin and Frederique have different reasons for their pursuits -- his are intellectual, hers are mercenary; their paths cross only once, and very briefly at that." There is more to the film, certainly, much more, but that is the main driving force of the story.The film also destroyed any ideas I had about 'efficiency' in storytelling. "Out 1" takes as much time as it needs to tell its story, and unfolds slowly over eight episodes, exploring each and every one of its characters in great detail and leading to a climax that's both believable and satisfying within the realm of the film, but also frustrating not in a conventionally anti-climactic fashion, but in the way the end of a story within your own actual life often feels. I do firmly believe that the viewer should not attempt to watch the film in one long stretch, as the ability to reflect on each episode (which are, on average, around 90 minutes long, and are as full of detail and depth as many great feature films) was an essential part of just how much I ended up enjoying "Out 1". It is lengthy, sure, but it is unbelievably enjoyable viewing, mostly thanks to the fantastic enigma at the center of the film as well as its brilliant sense of humor. I'm sure Rivette enthusiasts will stop reading this once I say it, but I can absolutely see the Coen brothers (albeit the Coens in "Barton Fink" mode rather than "Burn After Reading" mode) making a much shorter version of this film and doing a great job of it. The characters, the humor, and the mystery are all there.Nearly all of the characters in this film are great, but Colin and Frederique are possibly my two favorite characters in all of cinema. I won't say much about them here, but they are among the best-defined and most interesting characters I've seen, and even without the strength of the rest of the film would have been enough to keep it interesting. I'm not sure how much of this film was improvised, but I understand that quite a lot of it was, which is really a testament to the skill of the cast and also the director, whose long takes and subtle direction are as fascinating and beautiful as the performances and story. "Out 1" is a fascinating enigma of a film, one which takes the viewer on a fascinating, enigmatic journey filled with hilarity, tragedy, and mystery, as well as a healthy dose of adventure. "Out 1" defies labels, defies genre categorization, and remains completely unpredictable throughout (even its final shot is surprising, and brilliant). This is most definitely a masterpiece.

luigi_aiello I think that Pierre Léaud, or his character, to be precise, is really outlandish but with grace: I also remember the chess player, and of the girl who seems to be appearing by chance in his home, something really curious...the woman acting as the lawyer, is to me one of the most beautiful actresses ever seen on the screen...but I must admit that the plot is too inconsistent to be taken seriously....The character who plays as the lead theater actor is really nice, especially when he's annoyed by the new actor, the one in purple t-shirt...also, the scene where the bearded actor - who belongs to another company - directs the stage is really fascinating and relaxing, as it often happens with this movie - for example, when they drink tea, they just make you want to have a cup...