It's like the New Wave version of a mystery/conspiracy thriller, and in that regard it works really well. The black and white cinematography suits the tone perfectly, even if the very poor quality of the film makes it hard to tell, and it's supported by some disorienting editing and a great use of light and shadows. There's also a really terrific score, probably one of the best for this genre. Even though the film runs 140 minutes, it never really feels boring, as the conversations between characters are gripping enough to keep the viewer's interest. The story is rather strange, as it appears to be non-linear and occasionally irrelevant, but it seems to work out at the end. However, unfortunately, the end is a complete disappointment, as it attempts to hammer home some political viewpoints that just end up being confusing, and then coasts to a unsatisfactory finish without really tying up any of the loose ends. It's an interesting watch, and you could do a lot worse, but it's no masterpiece.

A rather wordy first feature from Jacques Rivette set in 1957 and probably filmed that year as we know it took some time to get a release. If the film had difficulties back in the day it would seem it has even more now. The young men look far too old to be going around acting in the way they do yet we are presented with this bunch of alienated persons, alienated either by their own existentialist attitude and stated beliefs or their immigrant status. One has fled Spain another the fruits of Mccarthyism in the US and all meet and disperse, foretelling of doom, murder and suicide. At the same time a production of Shakespeare's Pericles is being attempted and although I do not know the play I understand the problems of staging it is an ongoing feature and the unresolved nature of much of the play is reflected here in the story of alienated 'youth'.

:It's 1957. Betty Schneider is a student who gets involved in small acting troupe. As the rehearsals proceed, she notices odd things, and begins to suspect some secret organization is responsible for the death of the American journalist, novelist and music composer for the show, Daniel Crohem.

Jacques Rivette's first feature shows the gelid calm that appeared in most of his movies. with politics and assassination merging in a manner that Hollywood would only tackle in the 1970s.... usually with an air of hysteria. There are a lot of shots around Paris that makes the city a cynical observer of these human goings-on, a subjective camera that views the affair with contempt. I wonder how cameraman Charles Bitsch got that effect.