Eric
Rohmner`s films are truly an acquired taste. His films are
very dry, chatty, and devoid of standard cinematic flourishes.
There are no fancy camera work, dazzling shots, or melodrama.
Films like Claire`s Knee, Summer, and La Collectionuse have
no desire to shock or enthral us like a traditional film.
Yet I have also found, on a few occasions at least, that a
Rohmner film is often better than it seems at first glance.
It may certainly appear boring, to the average viewer, and
the story may move at a pace like that of a very relaxed turtle,
ensuring that the desperate struggle of weakening eyeballs
will be for nought. But, while most of the audience sleeps,
the rest of us may see a movie which tells a fair bit about
the nature of love, Parisian style.
Such
is the case with Autumn Tale, Rohmner`s latest film. This
movie is also a very quiet story about relationships. The
central character is a woman, recently widowed, and an owner
of a small vineyard. She claims that she will not seek another
love, even though it is clear that she is lonely, and that
even her claims are laced with self-pity. Other characters
in the mix include the widow`s son, who dates a young woman,
who feels more warmth for the mother than the son. She also
has had a fling of sorts with her professor, and still hangs
out with him. Their appearance together certainly does not
make you believe that they have put aside any romantic attractions.
There is also a friend of the widow`s, who tries to fix her
up with a new man, through a rather ingenious method.
At
last I think I`ve discovered the essence of Rohmner`s work.
The characters often find themselves in a rut, or are unable,
or unwilling, to change their silly and frivolous ways. And
Rohmner pokes good-natured fun at them all. The films themselves
are quiet, and seemingly inactive, but in a sense, this complements
the emotional inaction of some of the characters. They talk
and talk, but don`t do anything about any thing. The best
example of this is the young woman and the professor. This
relationship may be considered immoral to North American viewers,
but the movie sees this situation as merely silly, and for
one important reason. The dynamic of their relationship is
they play at merely being ex-lovers who fight to be only friends,
but, in reality, flirt and play mind games with each other
constantly. The young woman keeps threatening the man that
she will never speak to him again, until he finds another
woman who he can truly love, then she will finally feel comfortable
with him. Yet what she ends up doing is not just still speaking
to him, but also tries to fix him up with her boyfriend`s
mother. And, also, while she may verbally protest his affections,
she doesn`t seem very strong-willed about avoiding him. The
man, on the other hand, has no desire to be faithful to anyone.
His hobby is to flirt with past and present students. This
hobby is a safe haven, where true commitment and emotion can
be avoided. We get the sense that these two will play this
game for many more months (or years?) to come. Neither of
these two want to move on to something more fulfilling.
There
are many more examples of this type of activity, but I will
not spoil the fun. For those who are patient, many rewards
will be had, as Rohmner`s films generally have a lot of subtle
wit and truth. And the last part of the movie, when the plans
of both the widow`s friend and the young woman`s merge, we
witness the makings of screwball comedy, although Rohmner
is much more subtle than that. The players are suitably witty
and foolish all at the same time. The French countryside (and
it must be said the French women too) are lovely to look at.
In short, this is Rohmner at his best, for those who are willing
to visit his world.
David
Macdonald
David
Macdonald's Movie Reviews
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