“Why would I tie myself to one woman if I were interested in others?” says Jerôme, even as he plans on marrying a diplomat’s daughter by summer’s end. Before then, Jerôme spends his July at a lakeside boardinghouse nursing crushes on the sixteen-year-old Laura and, more tantalizingly, Laura’s long-legged, blonde stepsister, Claire. Baring her knee on a ladder under a blooming cherry tree, Claire unwittingly instigates Jerôme’s moral crisis and creates both one of French cinema’s most enduring moments and what has become the iconic image of Rohmer’s Moral Tales. —The Criterion Collection
The most subtle and traditional of the many luminaries launched to prominence as a member of the French New Wave, Eric Rohmer is also among the movement’s most consistent and enduring talents. Basing his work upon antecedents in literature as much as those in the cinema, Rohmer made his name crafting talky, feather-light romantic comedies and chamber dramas distinguished by economical camerawork, a warmly ironic tone, an affection for youth, and a fascination with place and time. His intensely personal private life — according to legend, not even his own mother knew he was an internationally acclaimed, albeit pseudonymously named, filmmaker — has stood in direct contrast to the emotional openness of his movies, which, in intimate and illuminating detail, explore the limitless entanglements, disappointments, and possibilities facing contemporary relationships.
Born Jean-Marie Maurice Scherer on December 1, 1920, in Nancy, France, Rohmer later relocated to Paris, where he worked variously… read more
A previously unpublished article by French New Wave critic and filmmaker Luc Moullet on the cinema of Eric Rohmer.
The Film Society of Lincoln Center is touting The Sign of Rohmer, opening this afternoon with a screening of Eric Rohmer's debut feature
DESIRES FOR NOTHING:
As foreboding as “Moral Tales” sounds, these are not the ethical dilemmas of a religious or globalized society. These are the ethical dilemmas of interpersonal relationships… read review
I thought I “got” Eric Rohmer after watching My Night at Maud’s (which I liked), but now I don’t know. This movie was completely trivial and the philosophizing was just so heavyhanded and artificial… read review