Making its stateside home video debut on Tuesday, February 17, is Jacques Rivette’s Le Pont du Nord (Kino Lorber, Blu-ray, DVD), a dark sister film to his more buoyant and whimsical Celine and Julie Go Boating. Longtime collaborator Bulle Ogier stars with her daughter, Pascale Ogier, and they co-wrote the film with Rivette and Suzanne Schiffman, which gives the characters and their journeys a decidedly female perspective, a hallmark of many of Rivette’s films. It also channels his love of puzzles, games, fantasy, and conspiracy with a story that tosses the two women together in Paris and sends them on an odyssey through the city, following clues and hopping through neighborhoods like they are squares in a massive boardgame with fatal stakes.
Marie (Bulle Ogier) arrives in the back of a pick-up truck—she’s spent the last few years in prison—with the intention of tracking down her old lover. Baptiste (Pascale Ogier) rides in on a moped, challenging a motorcycle rider like a kid playing matador and stepping off to slash the eyes from posters and placards. Marie is older, experienced, practical, disillusioned yet still hopeful, and she’s afflicted by a crippling claustrophobia that prevents her from even stepping inside stores. Baptiste is young, dreamy, a believer in fate and magic, and possibly unstable (her reflexive defacing of public imagery seems more compulsion than artistic statement). She’s also unfailingly loyal. When Baptiste sees that Marie’s criminal boyfriend Julien (Pierre Clémenti) is involved in shady business dealings, she appoints herself Marie’s guardian and takes the lead in investigating the contents of Julien’s briefcase, which includes newspaper clippings of political assassinations and of Marie’s criminal past. What’s the connection?
That’s for you to decide. Rivette doesn’t connect the dots so much as he follows the path of the game board, jumping from one square to another to make sense of the clues. The women discover that there are deadly stakes to this game but Rivette mixes fantasy with the fatalities and whimsy with the seriousness. Marie’s past connects her with the revolutionary spirit of the late-1960s that no longer exists by 1981, where the rich and powerful play games with lives. Baptiste’s idealism is less political than personal, perhaps a kind of chivalry. Her moped as much steed as machine and in the final act she takes on an amusement park slide in the design of a fire-breathing dragon like she’s a 20th century Don Quixote with tai chi moves. When a rival player attacks her, he puts her to sleep like a fairy tale princess, going so far to use a piece of stage craft to cocoon her in a literal web. Marie’s story is less whimsical, as her devotion to her criminal lover drags her into a criminal plot to which she remains willingly blind. Not that Baptiste understands it any better, but her drive to attack the eyes of the posters and artworks in the city echo with fears of surveillance. Who exactly is watching them?
Le Pont du Nord is shot on location on the streets and in empty lots of Paris where buildings in various staged of demolition and construction suggest the skeleton behind the city. The scenes were worked out with the performers and then partially improvised and have a playful, meandering quality held together by Rivette’s dashes of humor and visual punning and the bond created between the two women. But this is a dark bookend to the cycle of films he began with his 1971 epic Out 1 and continued with Celine and Julie Go Boating (1974) and Duelle (1976).
Features the 13-minute video essay “Composites,” an experimental rumination on the film that I found uninformative, and the more useful but fairly inert 11-minute “Mapping Le Pont du Nord,” an image essay that goes through the film chronologically and identifies the locations of each scene.