Word: rohmer
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When the French talk about love, it's hard to stop them. And no one should try when the French are speaking in one of the dozens of feature films written and directed by Eric Rohmer. The characters in his films were eloquent, addled, obsessively pursuing a line of romantic rhetoric or analyzing the erotic attraction of a teenager's knee. Applying a wry, professorial tone to the book of love, Rohmer beguiled two generations of art-house denizens. His purchase on their finer fancies began with My Night at Maud's, the 1969 chatfest that swept him into...
...Rohmer came to film renown late - he was past 50 by the time My Night at Maud's was nominated for an Oscar for Best Original Screenplay. But he came into film early. Born Jean-Marie Scherer in the province of Lorraine, Rohmer moved to Paris, taught literature, worked as a reporter, wrote a novel. In 1950 he co-founded the Gazette du Cinéma with two other future filmmakers, Jacques Rivette and Jean-Luc Godard. Within a few years they - and François Truffaut and Claude Chabrol - were writing for Cahiers du Cinéma, which Rohmer...
While his colleagues became directors whose names were dropped at the better cocktail parties in London, New York City and Tokyo, Rohmer trudged along at the magazine and made shorts and feature-length pictures that got little notice. My Night at Maud's changed that. The soufflé-light, dialogue-heavy film - the first to be shown with subtitles in the Cannes festival competition - enchanted audiences with its tale of a man (Jean-Louis Trintignant) committed to one woman (Marie-Christine Barrault) but willing to stay the night with the divorced Maud (Françoise Fabian) just ... talking. After...
...Pauline at the Beach and Boyfriends and Girlfriends in the '80s, his Four Seasons quartet - A Tale of Springtime, A Tale of Winter, A Summer Tale, An Autumn Tale - in the '90s and another three features in the 2000s. (He was a late starter who never stopped.) At times Rohmer dipped into the past, for The Marquise of O, Perceval and his final work, Romance of Astree and Celadon, but he's best remembered for his lighter films and their scrupulous devotion to the wiles and smiles of women. He ranked with George Cukor, Ingmar Bergman and Yasujiro...
...space. Vistas overflow with color. “Contempt” is a visual feast, and only one from Godard’s formidable filmography.As one of the pioneers of the French New Wave movement, along with the likes of François Truffaut and Éric Rohmer, Godard seemed to concern himself not only with subverting ideas of genre and dramatic distance, as he did with “Contempt,” but obliterating them altogether. His films are a testament to the mercurial atmosphere of French society, whose working class was emboldened by their socialist...