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The Cine-Tourist
La Lune avec les dents (Michel Soutter 1966) 


View La Lune avec les dents in a larger map

sequence by sequence:

Sequence 1 (interior): bowling alley (Meyrin): William calls Manuela (asking for somewhere to stay, and says he’ll come to ‘la télévision’ at 2)
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Sequence 2, credits (semi-interior): in a tram through Geneva, alongside lake
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Sequence 3 (exterior then interior): William runs past a ‘Carrosserie’ towards his flat (in Carouge), then in his room, alone (voice-over). Chagall poster.
References: William is reading Cesare Pavese’s Le Métier de vivre (but the voice-over text (here) doesn’t seem to come from Pavese’s book)
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Sequence 4 (interior): William’s room, with friend, an actress, who brings him coffee,  apples and a cake (for his saint's day). She admires the view, towards Le Salève (a mountain in France that overlooks Geneva).
References: She sings the first two lines of Goethe's 'Der König in Thule' (see full text here)

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Sequence 5 (semi-interior): William’s balcony, eating an apple
References: voice-over - text here

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Sequence 6 (exteriors): streets of Geneva: lottery ticket seller; chestnut seller; lakeside (quai de la Poste); footbridge (leading to the place de l'Ile)
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Sequence 7 (interior): buvette near butcher’s; voice over: Manuela singing a melancholic song (lyrics here)
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Sequence 8, insert (interior): Manuela in corridor of offices (‘la télévision’)
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Sequence 9 (exterior): William steals book from lakeside seller, walks past men unloading a lorry
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Sequence 10 (interior): Manuela, with guitar, singing the same song in a different arrangement, in tv office; William comes in for the key to her apartment
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Sequence 11 (semi-interior): bateau-restaurant on the lake: William meets woman (Noëlle Laurencin)
References: William tells Copi’s story of the snail and the old lady; then talks about the death of the hare in Renoir’s La Règle du jeu

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Sequence 12, insert: Manuela leaving her apartment. (All of the paintings and drawings in Manuela's apartment are by Genevan artist Pierre Vogel, whose studio this is.)
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Sequence 13 (exterior): on the jetty, William and Noëlle
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Sequence 14 (exterior then interior then exterior): place des Charmilles, outside the Migros supermarket:
William and Noëlle, watched by  Michel Vogel, the trainee detective; 
in the supermarket, William steals champagne;
then William and Noëlle in the streets towards Manuela’s flat (15, rue du Mont Blanc)
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Sequence 15 (interior): Manuela’s flat, William and Noëlle, drink tea in the kitchen then go into the living room (Noëlle can’t have sex because she has her period; she dances in front of the painting of  'Madame Röntgen', the complete womea; William slaps her)
References: William asks Noëlle to read an extract from Henri Barbusse’s L’Enfer (here)
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Sequence 16 (exterior): streets (rue des Alpes) towards the railway station (Cornavin), William and Noëlle with the painting  of Madame Röntgen); Noëlle takes the tram towards Jussy
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Sequence 17 (interior): office: William and the businessman (his father?)
back-and-forth  panning between  them; William says he’s going to La Réunion (to Le Tampon)
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Sequence 18 (interior): William’s flat; William and the actress
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Day 2

Sequence 19 (exterior then interior): Place des Charmilles, Migros supermarket; Vogel spying on William, who steals a teddy bear for Noëlle

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Sequence 20 (exterior): Jussy: country road, William on a bicycle; he calls on Noëlle, they talk in the grounds of Noëlle’s house (n.b. zoom out); then William in the country road again
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Sequence 21 (interior then exterior then interior): on the way back from Jussy, William wets his face in toilets, then goes into the Café Marcelly (Thonex): interviewed for the radio (n.b. jump cut)
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Sequence 22 (exterior then interior; three shots, one before the insert , two after): after getting a lift home (where’s the bike?), William in his flat;
INSERT (interior): Noëlle on the landing outside Manuela’s flat, man trying to get to sleep;
References: William sings (in French), smashes up his flat,  recites lines from Camus’s play Caligula (here); William writes ‘nada Nadja’ on the window; says ‘merde à tout’

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Day 3:

Sequence 23 (exteriors): narrator’s voice-over (‘A ce moment précis, la police passe à l’action. William W. en aura pour deux jours. C’est le délai dont va profiter l’Inspecteur Vogel’);
William is ‘arrested’ by Vogel, rue des Charmilles; phone booths; Vogel’s associate arrives; William tells Noëlle he has to go because of some family trouble; he goes with Vogel and associate in their car
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Day 5:

Sequence 24 (exterior then interior then exterior): garage, Vogel borrows a 2CV from a gambling garage owner (who on the phone tells a friend he’s coming to Paris)
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Sequence 25 (exterior then interior then exterior): swimming pool (Les Vernets), Vogel and Noëlle, then square outside
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Sequence 26 (exteriors): country roads, Vogel and Noëlle, the 2CV breaks down; then shack (with a man who grows onions)
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Sequence 27 (exterior): Vogel and Noëlle, in the countryside, looking for man with news about William; they hitchhike back to the city
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Sequence 28 (exterior then interior then exterior): Vogel and Noëlle, Air France agency, Place de la Fusterie
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Sequence 29 (interior): Vogel and Noëlle, at Manuela’s flat (see sequence 15)
Noëlle reads the extract from Henri Barbusse’s L’Enfer (see sequence 15)
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Sequence 30 (exterior then interior): Vogel and Noëlle, outside, near modern flats and in the ruined firework factory (zoom out)
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Sequence 31 (semi-interior then exteriors then semi-interior): Vogel and Noëlle, in William's flat, then on balcony; then Vogel chases William; waste ground, Vogel, then Noëlle;
William goes back to flat; on his balcony, looks at camera
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This last image appears as a still on an office wall in Soutter's next film, Haschich (1967):
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