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very free adaptation of the novel The Unknown Masterpiece, Jacques Rivette filmed in beautiful liar The work of an artist determined to capture the truth and essence of his models, and at the same time, emotional consequences that the creative process in all those causes that are related to her pregnancy. Painting and art in general as a means of knowledge to reach an absolute truth that can be destructive to the individual subject to the same and can have devastating effects on others. Does art or life?
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The plot is concentrated during 4 days of summer in an old castle house of southeast France. Live there Liz (Jane Birkin) and Frenhofer painter (Michel Piccoli). This has preferred art to life to save his marriage which was the old model. One day displayed in the house a young couple, Nicolas (David Bursztein) a promising artist and his girlfriend Marianne (Emmanuelle Béart). This visit just emerging proposal Nicolas, a fervent admirer of his, the host, continue with Marianne as a model, a box called The beautiful liar, who left Liz for years being his muse, trying to protect and guard against the bloody truth I was going to be exposed to finish the job. There is some Faustian and also a misogynist in this agreement. Give the lover admired painter in exchange for first see this alleged masterpiece. All this is like a prologue that precedes what will come next, the creative process seen as a silent battle against the canvas between the predatory attitude of the artist and vampire and elusive movement of the naked body of the model, on the defensive principle, refusing to be little more than an object to be squeezed. While the work is taking shape, the film runs with a calmly flowing river whose waters are coming other subplots: jealousy, possessive and destructive side of art, the frustration of the operator at the work that resists the model turned into "something cold and dry," the artist-model relationship. And always in the background, the elephant in the film, the dilemma that presents the artist from the imperfection of life and the perfection of the work. All this may sound abstract and discursive result in a film, Rivette films it with the elegance and transparency of a master. We attend a bright paper craft and art of painting. As you proceed, The beautiful liar is becoming an eminently film physics. The picture and sound transmitting solar light South of France, the heat of summer, the coldness of the rooms, the chirping of the pen on the notebook, the mixture of colors, pressure of the brushes on the canvas, the touch of charcoal on paper, the model's naked body manipulated by the painter as an inert object. As viewers, we feel so intense and vivid the process of creating a painting. Rivette's camera moves with lightness to the film's modest two to two encounters between the characters without reducing them to mere archetypes. In the end, Frenhofer ends his beautiful liar, but Rivette, consistent with the mystery that has built around the work, it shows it. Liz and Marianne only have access to it. Between life and art, the artist chooses life and delivery to the dealer a substitute for beautiful liar. This one is only interested in the price of the box and the business that entails. In the epilogue in the garden with all the characters, Rivette films again find two pairs with subtle camera movements we suggest that these relationships have changed and will never be what they were.
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The beautiful liar is offered in two versions, one full of almost 4 hours and one restricted to the usual two hours of film., But both are aimed at that audience / a for which the film is more than a spectacle, a form of knowledge. Refrain those looking at the screen fast fun and cinematic fast food digestion.
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