Pierre Wesselrin is a 40-year-old American who lives in Paris by sponging off his working friends and various wealthy acquaintances. He receives a telegram saying that a rich aunt has died, so he throws a party, using borrowed money of course, and invites all his friends. After discovering that his aunt disinherited him, his luggage is impounded and he is thrown out of his apartment. All his friends are now away for the summer, or are working outside Paris, so he is forced to wander the streets and become a clochard. —IMDb
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
Lo valioso de este filme se asoma cuando nuestro desventurado amigo está en el proceso de convertirse en un futuro "pordiosero", es decir, todavía es un vago más. Entonces camina solitario sin rumbo, se acurruca entre cualquier espacio de la noche parisina. Al inicio no se muestra durmiendo en cualquier lugar (el director mantiene viva su dignidad). Ya luego el cambio es inevitable, es como una mancha que no se quita
Pretty weak debut. Rohmer plays it too safe in my opinion, a simplistic exercise in storytelling with a story that is lackluster to begin with and no other higher intentions in his mind, and to top it off, the violin score, which apparently portrays the grief and despair of the main character, is the most annoying thing I've ever heard in any movie, I'm pretty sure I watched one third of this thing with no volume.
A previously unpublished article by French New Wave critic and filmmaker Luc Moullet on the cinema of Eric Rohmer.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
The two disc set from Artificial Eye called "The Early Works of Eric Rohmer" features two of his Six Moral Tales, the shorts La boulangère