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In the 1970s Rivette consolidated the phase of experimentation announced in L’Amour fou (1969). Indeed it is also, paradoxically, the decade of what remains Rivette’s biggest commercial and popular success – Céline et Julie vont en bateau (1974). However, the period is also characterised by impasse. Of the five films he completed during this period, Out 1 (1970) only received one public screening, Merry Go Round, though completed in 1978, was not released until 1983, and Noroît was not distributed theatrically. In particular, the abandonment of a planned tetralogy – of which Noroît (1976) would be part – must be considered in this context. “Les filles du feu” was the title of the tetralogy proposed to the Centre National de Cinématographie (CNC) in 1975.1 The commissioning body took the unprecedented step of agreeing to finance four films at once under the generous return on receipts policy which it administered. The project comprised four loosely-speaking genre films: Marie et Julien, the first named project, was to be a love story, the second, Duelle, would be a contribution to the genre of the fantastic, the third, Noroît, would be a western, while the final instalment was earmarked to be a musical comedy starring Anna Karina and Jean Marais. The fantastic film was made first, the western second. Hélène Frappat describes Marie et Julien as it was originally planned as follows: “histoire d’un homme qui vit seul dans le souvenir d’une femme qu’il a aimée et qui voit revenir une femme identique à l’autre, se met à vivre avec elle et découvre que c’est une morte”.2 Rivette cast Leslie Caron (in what would have been her first role in a French film) in this variation on the Vertigo (1958) theme, while Albert Finney possessed in Rivette’s estimation the right combination of foreignness and a good level of French to incarnate the role of Julien.3 Although his producer Stéphane Tchalgadjieff testifies to Rivette having shot two impressive scenes (which were subsequently lost at the laboratory) during the first two days on

"Our day will come": Histoire de Marie et Julien in the light of Les filles du feu