Schneider, after overhearing a discussion on the suicide of a young Spaniard, is compelled to learn why the youth's life ended so tragically. She gets involved with Esposito, a theater director, and takes a part in his production of Shakespeare's "Pericles." She becomes worried for
Esposito's life when he tells her that the Spaniard was part of a worldwide conspiracy and that he is targeted for murder by the same organization. She also meets Crohem, an American victim of McCarthyism, who is responsible for informing the Spaniard and Esposito of the organization. Eventually
it is revealed that Crohem made the whole thing up, but not before Esposito's paranoia gets the better of him and he commits suicide.
Along with Claude Chabrol's LE BEAU SERGE, this first feature by Jacques Rivette kindled the flame that became known as the French New Wave. Production began in the early summer of 1958 with money borrowed from the magazine Rivette (and his New Wave counterparts) worked for, Cahiers du Cinema.
Technicians, actors, and lab fees were all on credit, with no money exchanged until the film's release in 1960. Without so much as a car, Rivette and his entourage of film enthusiasts worked whenever they could, spending Sundays trying to raise enough money to begin filming again on Mondays. With
the help of Chabrol and Truffaut, whose first films were already receiving acclaim at the Cannes Film Festival, PARIS was finally released--a stepping stone toward French cinema's rebirth.
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- Rating: NR
- Review: Schneider, after overhearing a discussion on the suicide of a young Spaniard, is compelled to learn why the youth's life ended so tragically. She gets involved with Esposito, a theater director, and takes a part in his production of Shakespeare's "Pericles… (more)