What Rohmer lacks in terms of new wave cinematic style, he makes up for with pathos. These characters are very real, and the film really toys with our perceptions of them throughout. Though Rohmer's narrators are naive and self-interested, part of the joy of his films is reading against them.
Stylistically rudimentary Rohmer, yet impressively fluid and naturalistic, a worthy progenitor of the joys to follow. The flirtatious dynamics among dyads and triads are effectively alternated and the clumsy 'duckling' Suzanne proves a quick learner as resourceful as her licentious or self-righteously reserved 'lovers'. The final shot bears the same resonance as Germi's "Divorce Italian Style", minus the comedy.
Une découverte qui s'impose. Ce second "conte moral", après "La boulangère de Monceau" souffre tout de même d'un désastreux jeu des acteurs au bord du malaise, de la récitation, de la constipation et de l'affectation. Une curiosité à ne pas éviter... www.cinefiches.com
4.5 - rather mysterious at times. really adore the ambiguities that characterize suzanne. resting in the odd grey area that often characterizes human interaction, the strange contradiction of emotion of young men, the emotional ease with which some can pass to and from one another. remarkable.
Eric Rohmer's Moral Tales start to pick up steam and develop more towards feature-length. In case it wasn't clear from the other ones, it sure as hell is clear here that they're about caddish, oblivious men and women who are a good deal smarter. The "career" of the title has more to do with her love life than anything else, and by the end, she's learned a lesson while her exploiters are still stuck in adolescence.
An incisive portrait of the casual misogyny of competitive men whose persuasion on an unsuspecting woman also creates the foundation for further hatred - how the give and take of dominant, manipulating relationships create cycles of self-abasement and unease. But Suzanne is no sap, and Rohmer depicts her as the only party ultimately liberated from the cycle. Complex fully-formed at 55 minutes, in itself impressive
Cuando se trata de dilemas morales, Rohmer despliega personajes que son de admirar, pero hasta cierto punto son repugnantes. Esto curiosamente le ocurre al protagonista principal de este capítulo, quien está en el dilema de lo correcto y lo ajeno, este último, su deseo. La amoralidad como meta.
Eric Rohmer renders characters (not caricatures) more fully in 55 min than most contemporary movies do in 90 mins +. So much under the surface in this one, for one, I think the main character is a bit more in love with his male friend, than in the two women who show interest in him. Also the scene in which they "conjur" a spirit is brilliant.
What _is_ her career? This entry in the Six Moral Tales is perhaps more stark than the others; while those I've seen end with some sense of emotional ambiguity, this one doesn't even end happily. It's also ironic that marriage is seen as the "finish line" here—that's perhaps more telling than anything else Bertrand says.
Despite a different outlook, very Wes Anderson filmmaking in parts. "I had nothing against her, I simply hated her" -strange, because from the very first shot, so did I... The foundation for "Cruel Intentions." Repulsed, morally -I suppose. Then I started to feel bad for her.