In the brilliantly accomplished centerpiece of Rohmer’s Moral Tales series, Jean-Louis Trintignant plays Jean-Louis, one of the great conflicted figures of sixties cinema. A pious Catholic engineer in his early thirties, he lives by a strict moral code in order to rationalize his world, drowning himself in mathematics and the philosophy of Pascal. After spotting the delicate, blonde Françoise at Mass, he vows to make her his wife, although when he unwittingly spends the night at the apartment of the bold, brunette divorcée Maud, his rigid ethical standards are challenged. A breakout hit in the United States, My Night at Maud’s was one of the most influential and talked-about films of the decade. —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
One of the most fascinating and poignant studies of love, relationships, and emotional game-playing I've ever come across. Faith vs reason, attraction vs principles, love vs lust, etc. I need to see more Rohmer.
CC#345: Classic dichotomies in Rohmer’s fourth dilemmatic: God and man, man and woman - wholesome blonde beside ravishing brunette; religious idolatry against amoral fling, et cetera. Yet Jean-Louis does not profess the doting altar boy, inferring a portrait less exact: staking out and stalking his intended wife, let alone as the dry autodidact whose discourse duly permeates and defines the picture. Likewise, it is Maud’s transitory lover, on top of Trintignant’s natural charisma, granted, who ostensibly anchors the verbose academia and foreplay of the passing anthropology.
The best of Rohmer's Moral Tales takes place over a few days at Christmas and New Year in a crisp and wintry Clermont, exquisitely photographed by Almendros. Trintignant gives a nuanced performance as a devout Catholic fascinated by a blonde he sees in church but discovering an affinity for Maud after spending the night in her apartment deep in witty conversation. An elegant, poignant and ultimately sad masterpiece..
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
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Here’s a mantra that has served me well: “in Japan, the French New Wave is to cinema what Impressionism is to painting”. Except for Claude
"Eric Rohmer, a pioneer of the French New Wave which transformed cinema in the 1960s," reports Reuters. "He was 89." As in the barrage of