A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a “collector” of men. Rohmer’s first color film, La collectionneuse pushes the Moral Tales into new, darker realms. Yet it is also a grand showcase for the clever and delectably ironic battle-of-the-sexes repartee (in a witty script written by Rohmer and the three main actors) and luscious, effortless Néstor Almendros photography that would define the remainder of the series. —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
CC#346: The idyllic intellectual. Enter the male gaze - the frame fixed on Haydée; Rohmer, as much as her would-be collectible, the amoral voyeur of the petite bourgeois dynamics, underpinning an unsettling air to anthropological foreplay it shares with Maud and to the isolated tranquillity, lending La collectionneuse a tangible, beguiling intimacy. An impeccably unblemished transfer - in contention for one of the best ever - as well; all hail, Nestor.
Well-made, although I certainly don't agree with any of the major characters' moral beliefs, or with their actions (which sometimes differ significantly from their beliefs).
A previously unpublished article by French New Wave critic and filmmaker Luc Moullet on the cinema of Eric Rohmer.