A short article in The Guardian on Éric Rohmer
Philip French
http://www.guardian.co.uk/film/2010/jul/25/my-night-with-maud
One of the key Cahiers du Cinéma critics, and co-author (with Claude Chabrol) of the first important book on his fellow Catholic Hitchcock, Eric Rohmer was nearly 50 and the Nouvelle Vague had hit the shores and retreated by the time My Night with Maud, now re-released to mark his recent death, brought him serious international attention. But he was to go the distance, working well into his 80s to produce one of the largest, most varied but stylistically and thematically coherent oeuvres in the history of cinema.
My Night With Maud
Production year: 1969
Country: France
Cert (UK): PG
Runtime: 113 mins
Directors: Eric Rohmer
Cast: Antoine Vitez, Francoise Fabian, Jean-Louis Trintignant, Marie-Christine Barrault
More on this film
The third of his cycle of "Six Moral Tales", though the fourth to be made, My Night with Maud divided audiences on the opening night of the 1969 London film festival. Some were delighted by its wit, intelligence and physical beauty, others bored to distraction by its Gallic discussions on religion, philosophy, politics and love between a divorced doctor (the stunning Françoise Fabian), a 34-year-old unnamed Catholic engineer fascinated by Pascal and probability theory (Jean-Louis Trintignant), a demonic Marxist philosopher (Antoine Vitez) and a pretty blond laboratory assistant (Marie-Christine Barrault). Although Rohmer rarely indulged himself in this way, there's a scene where Trintignant trails Barrault in his car that's a homage to Hitchcock's Vertigo.
Like most Rohmer films, the setting and season are precise – in this case a snow-covered Clermont-Ferrand, superbly photographed in velvety black and gleaming white by the great Néstor Almendros who was to work regularly over the next decade with both Rohmer and Truffaut. The characters are articulate, intelligent, confident, and capable of deception and self-deception on a scale worthy of Jane Austen. As he got older, Rohmer's protagonists tended to get younger, though in the films in which he revealed his political conservatism (most notably The Lady and the Duke and Triple Agent) the principals are somewhat older. A box set of "Six Moral Tales" is released this month by Artificial Eye.
http://www.guardian.co.uk/film/2010/jul/25/my-night-with-maud
One of the key Cahiers du Cinéma critics, and co-author (with Claude Chabrol) of the first important book on his fellow Catholic Hitchcock, Eric Rohmer was nearly 50 and the Nouvelle Vague had hit the shores and retreated by the time My Night with Maud, now re-released to mark his recent death, brought him serious international attention. But he was to go the distance, working well into his 80s to produce one of the largest, most varied but stylistically and thematically coherent oeuvres in the history of cinema.
My Night With Maud
Production year: 1969
Country: France
Cert (UK): PG
Runtime: 113 mins
Directors: Eric Rohmer
Cast: Antoine Vitez, Francoise Fabian, Jean-Louis Trintignant, Marie-Christine Barrault
The third of his cycle of "Six Moral Tales", though the fourth to be made, My Night with Maud divided audiences on the opening night of the 1969 London film festival. Some were delighted by its wit, intelligence and physical beauty, others bored to distraction by its Gallic discussions on religion, philosophy, politics and love between a divorced doctor (the stunning Françoise Fabian), a 34-year-old unnamed Catholic engineer fascinated by Pascal and probability theory (Jean-Louis Trintignant), a demonic Marxist philosopher (Antoine Vitez) and a pretty blond laboratory assistant (Marie-Christine Barrault). Although Rohmer rarely indulged himself in this way, there's a scene where Trintignant trails Barrault in his car that's a homage to Hitchcock's Vertigo.
Like most Rohmer films, the setting and season are precise – in this case a snow-covered Clermont-Ferrand, superbly photographed in velvety black and gleaming white by the great Néstor Almendros who was to work regularly over the next decade with both Rohmer and Truffaut. The characters are articulate, intelligent, confident, and capable of deception and self-deception on a scale worthy of Jane Austen. As he got older, Rohmer's protagonists tended to get younger, though in the films in which he revealed his political conservatism (most notably The Lady and the Duke and Triple Agent) the principals are somewhat older. A box set of "Six Moral Tales" is released this month by Artificial Eye.
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