Word: chloe
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...Nuit Chez Maud. The third and best of Eric Rohmer's moral tales verbalizes much of the Catholic philosophizing that is implicit in La Collectionneuse, Claire's Knee and Chloe in the Afternoon. Jean-Louis Trintagnant's performance is good but overshadowed by Francoise Fabian, the provocative divorced doctor who tempts...
...loaded Chloe in the Afternoon with visual ironies. The film opens with Helene stepping out of a bath wrapped in a towel, and it is in the face of a similar situation with Chloe that prompts his return to his wife. Midway through the film, Frederic plays monster with his child by pulling his turtleneck over his head, and he leaves Chloe when he glimpses himself in the mirror in an identical pose while undressing to get in bed with her. Chloe in the Afternoon is above all a designed film. Rohmer's preoccupation with formal symmetry is reflected...
ROHMER HAS STAKED OUT a very narrow artistic ground, and maintains meticulous control of his particular world. Formally Chloe in the Afternoon is a jewel of a film, impeccably cut and polished. It is a movie of manners, and dwells on obsessions fit for a Jamesian drawing room. By now the question to bed or not to bed simply lacks sufficient emotional heat for all the space he gives it. Frederic's prolonged indecision is belabored until it becomes merely academic. The camera does all the stripping Frederic would like to do, yet neither ventures out of the abstract realm...
...CHLOE IN THE AFTERNOON is certainly an attractive film, delicately rhythmed and elegantly finished. If he has anything, Rohmer has taste, and cinematographer Nestor Almendros mutes, organizes, and understates his colors to fit the pace of the film. The camera plays over beautiful torsoes as if it were sculpting them, ironically, politely undressing them...
...streets of Paris are a gold mine for Frederic's greedy eyes. But he has no pressing moral problems. Plain bourgeois doldrums weigh down his pillowed existence. He paces his office like a lover distracted over his erratic Chloe, and fails to see that his abstemious attention is a species of marital disloyalty. He has confused the word and the deed, the moral letter and the moral spirit, and invented a crisis out of wineglass stuff. And for-all the difference it would have made, he might as well have slept with Chloe. It is a very Catholic confusion. Chloe...