A crumbling cloister perched high on a cliff on the Spanish coast, a wounded and rather pathetic general attempting to see a particular nun in the order living therein, who shun the outside world. This might seem an unusual beginning for a film by Jacques Rivette, who has more often traversed a fantasy-land of sorts in modern Paris, but those familiar with the byways of his filmography will remember several period films over the course of his long career, most notably the early The Nun which in many ways foreshadows this late film. An adaptation of a story by Rivette's favorite writer, Balzac, this story of thwarted love and societal repression also at various points recalls the director's obsession with theater, with performance as a daily part of life, and an ambiguous relationship with Catholicism.After a short introductory scene where we find that the general's object of longing has indeed joined the convent, a curtain closes as if to suggest that the principals are indeed play-acting, and opens again on a scene 5 years earlier in the drawing rooms of Napoleanic Paris. The eventual nun is Antoinette, the Duchess of Langeais (Jeanne Balibar), and it is she who begins the cat-and-mouse game that occupies most of the film, spying the limping Marquis de Montriveau (Guillaume Depardieu) at a party and immediately commanding him to call upon her. He does so and from then on a tug of war between the obvious passions, and the duties and strictures of the formal and unforgiving society around them takes over both of their lives with ultimately tragic consequences.The unattainable or impossible love affair has been a major theme in many of Rivette's works, most obviously "L'Amour fou", "Hurlevent" and "The Story of Marie and Julien". Duchess is cooler, more detached, and has an aura of inevitability or fatalism about it, and it lacks the carnality of those earlier films also, being almost entirely a talky mood-piece - though there is one extraordinary "kidnapping" scene which brings briefly to mind the conspiracy-world of many earlier works. And yet Rivette's always remarkable and thoughtful mise-en-scene, his slow camera movements punctuated by title cards (often at unpredictable points) does develop an aura of suspense and growing fascination. Will Montriveau's eventual finding of his lost Antoinette ultimately result in happiness? In death? In scandal? The film is too honest and stripped of inessentials to allow us an easy guess - its only foreshadowing lies in whatever we bring to it of our own knowledge of human nature.As usual in Rivette's late work the period detail is exceptional, William Lubtchansky's camera-work is as fine as ever, and the acting is committed. It's nice to see Bulle Ogier again, still beautiful and mysterious in her late 60s, now playing a supporting role (the wise and imperious aunt) but still dominating the screen in her couple of scenes. The production design (by Emmanuel de Chauvigny, who has worked with the director for years) is also wonderful - one of the things I love so much about Rivette is that he pays so much attention to texture, to the look and feel of doors and wallpaper, lamps and tables. Only David Lynch comes to mind as a contemporary director so consistently committed to these kinds of details and the "feel" of objects.Overall this doesn't feel quite like major Rivette to me, but like his previous "Marie and Julien" I'm still thinking about it, and liking it more the more I reflect. Canadian-release DVD watched.

Honoré De Balzac's novel 'La Duchesse Du Langeais' has been transformed by screenwriter Pascal Bonitzer for the screen as 'Ne Touchez Pas a la Hache' and the result is a mixture of proscenium stage pictures, and scenes separated by written dialog that merely lets the viewer know such unnecessary details such as that fact that time has passed, and well over two hours of an uninvolved courtship between a sensualist and a coquette. While it is a pleasure to remember the times of Balzac and his way with lusty themes, watching this film version can be tedious - at best. Fans of director Jacques Rivette will find much to enjoy in this adaptation: the pacing of the film feels important to his concept of the development of the story - the stifling boredom of the evenings of balls in Paris and the isolation of the soldiers' lives, deprived of the companionship of lovely ladies. He has cast Jeanne Balibar as the title character Antoinette De Langeais , a married lady of means with a penchant for flirting and coquettish behavior with important men, and Guillaume Depardieu as General Armand De Montriveau, a war hero who lost his leg and returns to Paris vulnerable for love, namely in the instant attraction to Antoinette. The tale is one of a game of the General's passionate love and the duchess' toying with his advances until a climax is reached which changes the approach of each character with rather disastrous consequences for both. As a period piece the film works well: the costumes and settings are splendid and the scenes in the endless ballrooms are full of grace and lovely music. But the flow of the encounters between Antoinette and Armand are an interminable series of momentary repetitious encounters with a sound track that seems bent on capturing the opening and closing of doors and the loud pacing of the crippled general as he enters and leaves the naughty lady's chamber. There is little to draw us into caring for the characters and after the first hour and a half of the film the courtship begs our indulgence. In French with English subtitles. Definitely recommended for fans of Jacques Rivette's films or Balzac's stories, but a 'long song' for casual viewers. Grady Harp

Rivette has already shown he is a master in directing movies in historical settings, as in Jeanne la pucelle or Suzanne Simonin. But in this one he actually surpassed himself. I find it incredible how he recreates the atmosphere of the early 19th century, how everything comes naturally and how details that probably took a lot of time to research are presented "en passant" rather than pointing out how different the world was back then, which is a frequent flaw in historic movies. Also the pictures are are incredibly dense and of rare beauty. If you want to get an idea what bored aristocrats in the early 19th century felt like and how they killed their time, this is the movie for you.If you are looking for action, a simple plot or references to current issues, stay away from it. Actually I think it is one of the greatest strengths of the movie that Rivette leaves the story in its time and does not try to adapt it to the taste of today's audience (also a very common flaw in historic movies - and a reason why I generally hate them).As for the story itself, I find it quite plausible and the actors get it across very credibly. However, if you are a sane person with no neurotic traits (I admit I have some) you might find it difficult to understand why the main characters torture each other that way. On the other hand, much of this is also rooted in the time in which the book was written.And yes, it is artificial, but it is so intently and I don't see anything wrong with that...

Jacques Rivette, who's almost 80 years old, seems now to have definitively abandoned the lighten world he gaves glimpses of in the wonderful "Va Savoir" and in the musical "Haut Bas fragile" (which has more down than up), two movies full of youth and wit. He gets back with "Histoire de Marie et Julien" in 2003 in a darker and saddest universe (and also, let's be honest, a way more boring one). "Ne touchez pas la hache", with its depressive tone, its damaged story and its Balzac's "Histoire des 13" adaptation, definitely belongs to the second part of Rivette's movies (that is darker and boring...), but manage to be much more passioning than Rivette's last opus.The movie is a cinematographic translation of Balzac's "La Duchesse de Langeais", where everything, from the structure in three parts with a flashback, to the dialogs, is respected. This serious exercise is a little bit academic, but the lack of imagination is tempered by the Romanesque density of the book, which keeps the spectator's interest awake during the all movie. This fidelity to the sad and unconsumed love story sometimes brings interesting and unpredictable changes. The turning point of the movie, which tells the seduction of an intrepid General by duchess full of frivolity, has for example a very different aspect in the book and in the movie, even if it's exactly the same thing. The scene deals with Montriveau kidnapping Antoinette, as a demonstration of his will, love and power, and she'll deadly falls in love with him, as a consequence of this act. In the realistic yet dramatic world of Balzac's "Histoire des 13", this act is absolutely credible and logic, but in the soft and slow universe of Rivette, the scene almost appears unreal, as if it's only one of the Duchesse's phantasm, and you have to wait until the end to get ride of this unreality's veil. The movie is for that reason absolutely faithful to Balzac, but also absolutely personal and definitely belongs to Rivette's personal universe. And the interest of the movie would have stayed relative, if the actors didn't bring live and movement to this static motion picture. It's indeed Jeanne Balibar and Guillaume Depardieu (most impressive in a intense and tortured Montriveau-Balzac) that creates the tension and the emotions, which would certainly have lack to this movie without them.