Word: rohmer
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...single foot attempting to explore the subject of morality itself. And this is, of course, understandable: in an era of ever-accelerating apocalypse conventional religion seems irrelevant, it's simply not of interest (who needs it?), we've heard it all before, etc. Overcoming these formidable cultural barriers, Eric Rohmer has created a work of incredibly exciting proportions about a devout Catholic learning how to live in the banal bourgeois continuum of provincial France...
...visual point of view (also brief interior monologues), subtly builds up a tension between your sensibility and your experience of his, and finally forces a dialectical confrontation in sequence after sequence with the ultimately desirable Maud (Francoise Fabian), where his choices directly thwart your inclinations to act through him. Rohmer uses this audience identification with the human reality of the film to force the relevance (though not necessarily the acceptance) of his abstract, moral material...
...love doesn't come off, which are metaphysical, contradictory, and above all, intellectual. A knowledge of Pascal seems important in sorting out patterns of thought, since the sophisticated conversations ("you're more of a Jansenist than I am") are often elliptical, but don't be put off: with Rohmer, as with his New Wave cohorts, academic expertise is neither necessary nor sufficient for understanding his intellectuality. Most of the ideas are hashed over at Maud's in brilliant, circuitous, and convoluted dialogue, which, like most conversation, resists complete synthesis. Certain intellectual polarities emerge, however, between ideology and practice, determinism...
...that are rarely, if ever, screened in the Boston area. Definite booking has already been made for Glauber Rocha's "Antonio das Mortes" and "Black God, White Devil," Jean Marie Straub's "The Chronicle of Anna Magdelena Bach," and Bertolucci's "The Partner." There is also a possibility that Rohmer's "Ma Nuit Chez Maud" will be screened...
...shot of the Cinemathique in Paris and is dedicated to Henri Langlois, the popular man who runs it. And indeed the Nouvelle Vague movement in French films owes its existence to the Musee Cinema since most of the men in this movement-Truffaut, Jean-Luc Godard, Claude Chabrol, Erie Rohmer, Jacques Rivette-began their careers as critics for the highly-influential Cahiers du Cinema and have arrived where they are only after a long and detailed study of film history...