Set in 1799, it tells the story of the Marquise von O, a virtuous widow, who finds herself pregnant and protests her innocence while possibly deserving to be exiled. The film was inspired by Heinrich von Kleist’s 1808 novella Die Marquise von O.
This film is not currently playing on MUBI but 30 other great films are. See what's now showing
a well-orchestered masterpiece, clinical, minimalistic, but at the same time assuring and emotional, every kleist's line is intonationally correct, every frame perfect, even such small subtle plot parts as her relationship with the father are brilliantly punctuated
Like so many before me, I became something of a blithe anarchist by virtue of my time spent studying the liberal arts in as outré a fashion as academia made available. So it is no small thing that Éric Rohmer, the conservative branch of the nouvelle vague, excites such adoration in me. THE MARQUISE OF O is especially special because it is pure cinema-as-plainspoken-magic. It states its case w/ regal aptness.
Brilliantly relates Kleist's tale in a sober fashion despite the core of the story seeming monstrous in this day and age. Ganz is great as the sad-eyed melancholic Graf. This beautifully mounted film is among Rohmer's best.
I love Eric Rohmer but wasn't certain at first that I could sit through a dry, highly staged costume drama. But I grew to like the Rohmer touches in it -- his bird's-eye-view observations on human frailties and self-imposed suffering and his journalistic approach to filmmaking. While the movie looked like a stage play much of the time, its themes connected and stirred some emotion.
This family drama in close-up feels more theatrical than cinematic--the lack of music, the limited but fabulous sets (and costumes!), the fades between scenes, the marquise's exaggerated fainting spells. The cinematography is subtly perfect, Clever and especially Ganz are great, and (call me a cynic) the plot perhaps can shed a great deal of light on the nature of modern romantic relations.
Fantastic costumes and set design--it looks like the early 19th century without a 1970s influence. The cinematography even makes the actors look smaller, as they were back then. While the plot is an excellent reminder of how much women's rights have evolved, it is creepy that the rapist is ultimately embraced (though this is in keeping with romantic notions of that historical period).
one of those films where you're thinking 'oh damn' as one malady after another piles up. it is perhaps rohmer's most ambitious film to date (1976). would-be interesting companion with kubrick's barry lyndon from the previous year.
Every shot looks like some sort of Romantic oil painting. This one's gonna haunt for some time. Also, for how it appears like a piece of theater (no music, minimal), I was reminded of Cries and Whispers?