"C'était un Rendezvous" is a short film by French filmmaker Claude Lelouch. Shot in 1976, but unavailable for many decades, the film simply consists of a point-of-view shot of a car racing through the streets of Paris. The car then stops suddenly, its driver exiting the vehicle and running into the arms of a young woman, who seems to have been waiting for him.
The film was shot using a Mercedes 450SEL with a camera attached to the front bumper. Lelouch used what was a new piece of technology at the time, a gyro stabilized camera mount, in order to reduce shake. The film consists of one unbroken long take, the camera never leaving its mount. Because shooting permission was not granted, and because the car runs several red lights, goes down one-way streets the wrong way, breaks all speed limits and comes close to injuring drivers and pedestrians, the driver remains unknown to this day for fear of prosecution. Director Claude Lelouch was himself arrested following the film's first screening.
Despite its short length, the film is well worth watching. Shot at three o'clock in the morning, it oozes ambiance, Lelouch's camera frequently passing iconic Parisian landmarks - the Arc de Triomphe, Opera Garnier, Place de la Concorde, the Champs-Elysees etc – all of which seem strangely sleepy.
Intentionally or not, the film also works nicely as a celebration of human ingenuity. The guttural noise of the car engine, the sound of rubber on road, the sound of gears being changed, the sight of ornate Parisian roads and monumental works of architecture it's almost an ode to fine construction. Of fine tuned cars, fine city planning and flawless architecture. The film fetishizes well built stuff.
Of course the film also works well as sheer spectacle. It oozes speed, energy and thrills, but at the same time, the film examines the way these feelings are amplified by the legends and myths surrounding the production. The film is thrilling not because it's fast, but because we know its unplanned, reckless and illegal. Stage this sequence and it would simply have no effect. In a similar fashion, the speed of the car is largely conveyed by the sounds of a F Ferrari 275 GTB being added or dubbed over the film in post production. In other words, the engine and tyres screeches of the car sound far more fast and aggressive than what the images tell us. Put the film on mute, and the car seems to be driving slowly. Put the sound on, and suddenly we seem to be going at 140 miles per hour. It's a lovely bit of deception.
Beyond this, "Rendevous" seems to examine the recklessness of romance; the electricity of passions, the giddy, crazy things men do to get their hands on a lover.
8/10 - Worth one viewing.
The film was shot using a Mercedes 450SEL with a camera attached to the front bumper. Lelouch used what was a new piece of technology at the time, a gyro stabilized camera mount, in order to reduce shake. The film consists of one unbroken long take, the camera never leaving its mount. Because shooting permission was not granted, and because the car runs several red lights, goes down one-way streets the wrong way, breaks all speed limits and comes close to injuring drivers and pedestrians, the driver remains unknown to this day for fear of prosecution. Director Claude Lelouch was himself arrested following the film's first screening.
Despite its short length, the film is well worth watching. Shot at three o'clock in the morning, it oozes ambiance, Lelouch's camera frequently passing iconic Parisian landmarks - the Arc de Triomphe, Opera Garnier, Place de la Concorde, the Champs-Elysees etc – all of which seem strangely sleepy.
Intentionally or not, the film also works nicely as a celebration of human ingenuity. The guttural noise of the car engine, the sound of rubber on road, the sound of gears being changed, the sight of ornate Parisian roads and monumental works of architecture it's almost an ode to fine construction. Of fine tuned cars, fine city planning and flawless architecture. The film fetishizes well built stuff.
Of course the film also works well as sheer spectacle. It oozes speed, energy and thrills, but at the same time, the film examines the way these feelings are amplified by the legends and myths surrounding the production. The film is thrilling not because it's fast, but because we know its unplanned, reckless and illegal. Stage this sequence and it would simply have no effect. In a similar fashion, the speed of the car is largely conveyed by the sounds of a F Ferrari 275 GTB being added or dubbed over the film in post production. In other words, the engine and tyres screeches of the car sound far more fast and aggressive than what the images tell us. Put the film on mute, and the car seems to be driving slowly. Put the sound on, and suddenly we seem to be going at 140 miles per hour. It's a lovely bit of deception.
Beyond this, "Rendevous" seems to examine the recklessness of romance; the electricity of passions, the giddy, crazy things men do to get their hands on a lover.
8/10 - Worth one viewing.