This one is mainly for Rivette completists. There are gaps in the plot and a lack of commitment on the part of some actors, notably Schneider which ensure that this film will not be counted among Rivette's greatest. I watched it on YouTube as part of my review of his works following the news of his death. The story is not weak--it's an amalgam of film noir and road movie--but the way it is told, in a slap dash manner leaving too much up to chance, disappointed me.
The great pleasure in Merry-go-round is provided by John Surman's mournful noodlings on bass clarinet, which often seem more interesting than what the actors are doing. Joe Dallesandro exercised a fascination on more than one filmmaker (I remember how Louis Malle used him in Black Moon, and his films with Andy Warhol are still around) and he does here too. His mad chase through the woods pursued by a knight in armor recalls the fight scene in Black Moon.
The great pleasure in Merry-go-round is provided by John Surman's mournful noodlings on bass clarinet, which often seem more interesting than what the actors are doing. Joe Dallesandro exercised a fascination on more than one filmmaker (I remember how Louis Malle used him in Black Moon, and his films with Andy Warhol are still around) and he does here too. His mad chase through the woods pursued by a knight in armor recalls the fight scene in Black Moon.