Word: chez
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Dates: during 1970-1979
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BRATTLE THEATER. Ma Nuit Chez Maud, 6, 9:30, La Collectionneuse, 7:50, wknd...
CHLOE IN THE AFTERNOON is the last of Rohmer's six moral tales, and the fourth to be distributed in the U.S. (La Collectioneuse, 1967, Ma Nutt Chez Maud, 1969, Claire's Knee, 1970). In each case the skeleton of the story is the same: a narrator committed to one woman, is attracted to another, but despite her seductiveness returns to the first. In each tale the character resists the temptations of the flesh in the name of moral principle. Rohmer insists that his films are not moral lessons but reflections upon morality. His method depends on ambiguity: when asked...
...concerned about your pocketbook, many more of the Square's restaurants are ready to please (or displace, as the case may be). Chez Jean (1 Shephard St.) has very fine French food, considerably better than Chez Dreyfus (44 Church St.) But Dreyfus attracts many distinguished Harvard faculty members and administrators, including President Bok, who eats chopped sirloin with mushroom sauce there on most working days...
...choosing his films and directors. Trintignant, 41, has emerged only in recent years as a superbly subtle technician of the screen. His taut, understated performances have included such diverse characterizations as the driven public prosecutor in Costa-Gavras' Z, the uptight Catholic in Rohmer's Ma Nuit Chez Maud and the intellectual fascist-killer in Bertolucci's The Conformist. Trintignant's acting style is condensed to a prodigious point of thrift in which complex characters are brought to life with extraordinary economy of gesture and expression. "The best actor in the world," he maintains...
...returned from his surreptitious trip to Peking. Arriving in Paris amid rumors that he might try to see the Communist negotiators, he was closely watched by reporters. Yet he managed to slip away for a four-hour talk with the North Vietnamese before he was spotted in Chez Garin (one of Michelin's two-star restaurants) with an attractive U.S. television producer, Margaret Osmer. It would perhaps be ungallant or even naive to say that Kissinger merely used her as a decoy, but it had that effect. The press collectively winked and concluded that Henry was up to nothing serious...