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Eric Rohmer's movies are, it seems almost without exception, slow- burners that reward those with the patience to sit through them, preferably more than once in some cases, and think about whats being said as much as whats being shown. This, his first feature in colour requires considerable thought on the part of the viewer, serving up nothing in the way of dramatic excitement and featuring three loathsome main characters who's morals are very in keeping with the era of late- 60s self satisfaction and hedonistic excess. Not that the hedonism is very wild. Jimi Hendrix does not blast from the simple record player that sits near a chair and provides the only music in the film. No one smokes anything illegal or pops any pills, talks of Indian mystics or goes in for meditation. But there is the very liberated (nowadays we'd say reckless) attitude to casual sex, although we don't see very much; the relaxed tangle of naked legs half glimpsed through one doorway, a brief an unrevealing shot of the main protagonist, the disturbingly young looking Haydee, quietly enjoying the intimate attention of another one-night-stand. Otherwise it's all hints and the more effective for that. Haydee is the very image of a swinging-sixties bed hopper. Young, slender, independent, cool and seemingly amoral she wrecks the plans of Adrian, an art dealer with time on his hands, when he finds her resident in a borrowed holiday villa at which he intends to devote himself to doing nothing at all for a few weeks while his girlfriend is in London. Haydee's noisy night-time frolics disturb his sleep and offend his self- declared sense of morality and the added presence in the house of his lazy, grumpy painter-friend Daniel sets up a spiralling tension between them all. But this is pure Rohmer and that tension manifests itself not in fist-fights, broken furniture, tearful confessions and blood-letting, but insults, low-key/nigh-brow arguments, teasing, sniping and political manoeuvring. In fact the more one thinks about the film, and it's one of those movies that does hang around long after the credits, the more one realises it's actually rather more like real-life, certainly as most of us endure it from time to time, than the over-dramatic offerings we are used to from mainstream movie-makers. Haydee maybe cute, Adrien describes himself as handsome and the setting is idyllic but you really wouldn't like to be on holiday with these unsympathetic characters. Observing their antics from without is one thing but to be part of it would be a nightmare! Oddly with it's morality so perfectly fixed in it's own time, this seems far more like a film from the 1970s. Something in it's look and after-the-party sense of deflation and disenchantment fits in with that later decade. Seeing it without knowing the release date you might well guess at 1972 or even later. If Godard's BANDE A PARTE is set in a Swinging-Sixties that hasn't yet arrived, Rohmer's film portrays one that has already left the building, although it's after-effects continue to create a problem. It all sounds somewhat depressing on paper and to some extent it is! It's not an easy film but if you give it time and maybe second look, you might well find there is more to this outwardly simple tale than you thought.

In The Collector, the first feature-length film of the Six Moral Tales series, mind-games, strategies, and overt manipulation thwart the possibility of satisfying relationships. The 54-minute film is beautifully photographed and has an elegance, charm, and wit that bears favorable comparison with his more acclaimed works. Adrien (Patrick Bauchau), an art dealer, and Daniel (Daniel Pommereulle), a painter spend the summer in a house on the French Riviera. Also vacationing there is Haydee (Haydee Politoff), an elegant but rather aloof young woman who sleeps with many boys in the area and has earned the title of "collectionneuse", a collector of men. Adrien, smug and self-centered in a charming sort of way, is interested in Haydee but tells himself that her promiscuity is a trick for him to seduce her and he refuses.

The summer turns into a love triangle with Adrien convincing Daniel to pursue Haydee to ease the pressure of his own conflict between his rationalizing intellect and his passions. In the moral scheme of things, Haydee may represent the sexual revolution of the 60s and Adrien that of traditional morality, yet the film takes no sides, presenting the issues without judging the characters and giving us much to think about. The Collector is perhaps the most philosophical of the six but in the end the pursuit without passion leads to a feeling of emptiness and missed opportunities. Like most of Rohmer's films, there are no peak dramatic moments or confrontations, just everyday life elevated into art.

Art dealer, in need of serenity, finds that the holiday villa is shared by a hedonistic young woman. He becomes obsessed with ignoring her and pretends to himself that she wants to seduce him while he remains unaffected. The holiday thus turns into a love triangle between the indifferent but flirtatious girl, the man's unacknowledged desire, and his incessant, pompous self-rationalizations (the best cinematic use of voice-over EVER!). A sunny, witty, and deeply ironic "moral tale" that explores, like most of Rohmer's work, the uneasy vacillation between intellect and eroticism.

The arrogant and pretentious intellectual art dealer Adrien (Patrick Bauchau) invites his girlfriend to travel with him to the coast to spend one month vacation with his close friend and painter Daniel (Daniel Pommereulle) in the house of their Randolphe. Adrien expects to do nothing but read and rest in the house and meet a possible investor in an art gallery that he dreams on having; however she prefers to travel to London. When he arrives, he discovers that the sexy and promiscuous pleasure-seeking Haydee (Haydée Politoff) that had one nightstand with Randolphe is sharing the house with Daniel. Along the days, Adrien becomes obsessed in a sick game of humiliating Haydee and imaging that she is trying to seduce him; however, his lust for her increases but his moral rationalization of their possible relationship keeps them apart.

"La Collectionneuse" is an erotic tale of arrogance, false value judgment and pretentious intellectuality of a false moralist. The witty and cynical screenplay uses excessive narrative in off of the unlikable lead character Adrien that is despicable as well as his friend Daniel. Actually, the only likable character is the libertine Haydee that accepts passively the cruel comments and treatment of Adrien and Daniel. Eric Rohmer uses the successful idea of a triangle of love with two men and a woman of "Jules et Jim" in a different and monotonous approach. My vote is six.

Title (Brazil): "A Colecionadora" ("The Female Collector")

"La Collectionneuse", the third film in Eric Rohmer's six moral tales, is packed with lacerating observations on life, love, and the nature of man. It is a sensitive conversation piece with elegant people commenting poetically on their lives and of those around them. Attractive men and women who reflect openly about the conflicts of intellect and impulse; inclination and action, solitude and companionship. Rohmer characteristically paces this eloquent tale of sexual temptation with long, fluid takes. "La Collectionneuse(Collector Girl) centers around a young, hedonistic girl(Haydee) who saunters laconically around the provincial environs of a large vacation home, seemingly indifferent to the two older men's(Adrian and Danele) existence. Haydee exudes a casual independence and an unflappable reserve. Her cursory dealings with her young lovers prompts Danele to cast her as 'the atrocious ingenue'. Though they find her unexpectedly alluring, both men regard 'the idea of collecting boyfriends opposite of purity'. Rohmer, the director of "Chloe in the Afternoon" and "A Tale of Springtime", enjoys revealing which individual can best cast their charm and guile to their best advantage. This 'game' between the sexes only leads to unwanted desires for the men and a resumption of her search by Haydee. Rohmer handles the material with a light touch throughout and concludes his story by offering a tenuous solution to the prevailing tension in the movie between one's solitude and fraternity. Adrian privately confesses that 'I was overwhelmed by a feeling of delightful independence, of total self-determination. But in the emptiness and silence of the house, I was overcome with anguish'. A universal truth clearly-rendered by one of cinema's most ingenious and graceful filmmakers.

This is another film on that imaginary list of movies you're supposed to dig if you want to be in with the Cool Kids. It's french, it's pretty, it's sexy, it's talky as hell, and it's languid. You know -- it's European.

This is also one of those films that's best appreciated if you saw it in its time. That way, you can appreciate everything it wasn't, its important aesthetic distinctions from all the other stuff you watching in 1968ish. After all, in 2021, the french new wave is as stale as week-old baguettes.

But seen for the first time in 2021, it's pretty, sexy, and as boring as a week spent alone in a seaside villa with nothing but sunshine and books. And its philosophical absurd dialogue? Mon dieu, non! First, it's ridiculous for what's more verité than not. Second, the only kinds of people who would behave like are the sedated kind. Third, if it's supposed to be referential and symbolic (it is supposed to be), then it's ineffectual.

So sure, be seduced into thinking that if you don't love this movie, then you're a cinema bore. But isn't it better to be a sincere bore, than a vapid poser? Do yourself a favor -- put your beret back in the closet and watch this sans expectation. Then you have a chance of liking it.

The first feature length moral tale, La Collectionneuse is easily better than its predecessors. Offering a realistic look into the lives of three young people and narrated perfectly by one, La Collectionneuse is a beautiful film. This is Eric Rohmer's first color feature and it is absolutely magnificent to look at. There are several gorgeous beach scenes. The cinematography all around is just glorious. Aside from that, the acting is wonderful. There is so much chemistry between the main characters that it electrifies the film. It also provides a realistic tale of the struggle to keep morality. Translated as "The Collector" in English, La Collectionneuse is an overlooked, underrated film that should be considered a classic.

The story begins with three prologues. The first, Haydee's prologue, simply shows the girl on the beach in a skimpy bikini. The second prologue introduces the viewer to Daniel, a painter, who becomes a key character. Adrien's prologue, the third and last, gives us an introduction to Adrien, who becomes our narrator throughout the rest of the film. These three characters are whom the story revolves around. Sharing a mutual friend, the three of them come to share a villa during their vacation. Adrien, an art dealer who is played by Patrick Bauchau, has made it his goal to do absolutely nothing during his stay. He and Daniel (Daniel Pommereulle) become friends fairly quickly, but both keep their distance from Haydee (Haydee Politoff), the beautiful young girl who beds a different guy every night. Adrien is at first disgusted with her behavior, calling her a "collector" of men, but eventually becomes intrigued by her. As he grows more and more attracted to her, Adrien must decide whether or not to sleep with her and forget his moral integrity or to abstain and do what he knows is right. Through his narration, Adrien debates this and plays mind games with Haydee, although he's not sure if she shares the attraction or if she simply wants to add him to her collection.

This film is simply beautiful. The sexual tension feels very real, which is due to both the performances of the actors and the direction of Eric Rohmer, who is quickly becoming one of my favorite directors. The narration is refreshing, offering a good look into Adrien's mind. La Collectionneuse is very sharp with its dialogue and themes. Like the other Rohmer films I've seen, this one ends very abruptly. It reminds us that we're watching these people's lives for only a short time. The 87 minutes is completely worth it, though. La Collectionneuse is a great film and should be regarded in higher esteem than it seems to be. I can't imagine why this one isn't ranked alongside the greats.

10/10

La collectionneuse (1967) is a French film co-written and directed by Éric Rohmer.

The film stars Patrick Bauchau as Adrien, an art dealer (sort of). Haydée Politoff portrays a beautiful woman named Haydée. Her job is to look beautiful.

In theory she's the collector, not Patrick. She collects men who will go to bed with her. Adrien finds it a challenge to prove he won't be part of her collection.

Adrien and his friends talk and talk. Then, for a break, they talk some more. Sometimes they talk about Haydée, even if she's there.

We know that people talk in Rohmer's movies. You don't go to a Rohmer movie expecting car chases or gunshots. The problem with this film is that the talk is boring. Why spend 1 1/2 hours listening to guys talk about nothing?

This movie carries a very strong IMDb rating of 7.5. Why? I gave it a 6.

It's hard to explain what is the Rohmer's cinema. In his movies you can't find heroes, incredible adventures or great action sequences. Everything happens inside the mind of the characters, and the most important aspect is the psychology of them.

La Collectioneuse is simply the masterpiece of Rohmer.

The plot is very simple: two boys and one girl in their friend's house in St.Tropez. That's all. There are not incredible events that happen, they simply LIVE there. It's an typical situation of Rohmer who likes to study the evolution of love triangles, in different situations. The explanation of the development steps, made by the usual interior voice of the main character (Adrien), it's incredibly accurate and likely. It's fantastic that sometimes Adrien's thoughts look at first to be absurd, but even in this case if we reflect a bit to that we can realize that it's true, that really in similar cases we have non-sense thoughts like those. In this way, Rohmer is unique: the psycho-evolution of the characters is incredibly real. Dialogs, internal and not, are superb and the directing essential.

Rohmer shows us how it's possible to make a masterpiece with a ridiculous budget, and how an intellectual movie can be also enjoyable and not so heavy.

The vote, of course, can't be different by 10 out of 10.

A womanizing art dealer and a painter find the serenity of their Riviera vacation disturbed by a third guest, a vivacious bohemian woman known for her long list of male conquests.

This film is somewhat notorious for its limited budget. In his autobiography, Nestor Almendros admits, "The film had to have a 'natural' look, whether we wanted it to or not, because we had only five photoflood lamps." They used so little film that, "In the laboratories they thought they were the rushes of a short (film)." Or as James Monaco tells it, "The only expenses that summer were for film stock and rent for the house in Saint-Tropez, which was the set and which also housed cast and crew. There was also a small budget line for the salary of the cook, who, the stories go, cooked nothing but minestrone during the entire shooting schedule." And then there is the matter of not having any big names in the cast. Phillip Lopate says Rohmer "likes nonprofessionals for the fact that they seem quieter and less apt to project Personality, with a capital P." He also contrasts Rohmer with Bresson in this regard. Indeed, there is something to be said about using amateurs, especially when the biggest actors ultimately become distracting.

In 2012, Roger Ebert added the film to his "Great Movies" list. Many others have praised this film for a variety of reasons. While it is, indeed, a good film, it is really not my type of movie and thus I cannot fully endorse it. But perhaps it is something for you.

Two tired cliches are that sex destroys friendships and that men and women can never really be friends and no-one chronicled these two sayings better than Eric Rohmer who made it his life's work to explore the psychological battles that we call courtship. In doing so he became, perhaps, the cinema's greatest director of women. Let's forget for a moment that he divided his films into series, (Six Moral Tales, for example, of which "La Collectionneuse" is one), and concentrate on the film at hand.

"La Collectionneuse" is very simple and very straightforward. Two male friends spend a summer sharing a villa in the south of France. There is another occupant, a slightly younger woman who sleeps around and it is she the men christen the collector since she 'collects' men wherever she goes. They, of course, consider themselves moral but they are also intellectuals and perhaps womanisers, too. They want to collect the girl; they want the girl to collect them.

Like all of Rohmer's best work this is a film of talk rather than action. Rohmer doesn't film love scenes or sex scenes; once his male and female characters enter the bedroom he loses interest. It's the chase and not the catch he cares about and whether men and women really can be friends as well as lovers. He takes his subjects seriously but he also likes to have fun at their expense and like so many of his films "La Collectionneuse" will have you chuckling if not exactly laughing out loud.

In his later films it was usually the women who took the lead but here it is Adrien, (a superb Patrick Bauchau), who acts as our narrator, guiding us through the moral maze but then all three players are excellent. This may be a minor Rohmer film but minor only in the way a short story is considered minor when compared to a novel. Personally I think "La Collectionneuse" is a Rohmer crying out for your collection.

It is truly disheartening to calmly embrace the fact that the aftertaste of watching this film is a certain degree of disappointment, against my almost irrational desire to love Rohmer's oeuvre, but I just don't like THE COLLECTOR, the fourth chapter of Rohmer's "MORALE TALES" series, the first feature length in the series and his very first colour feature too.

Searching inwards, what takes me aback actually is the three protagonists, Adrien (Bauchau), an art dealer, Daniel (Pommereulle), a painter, and Haydée (Politoff), a young girl, the titular "collectionneuse", none of them is really simpatico enough to deserve viewers' attentiveness, on top of that, after three rapid prologues introducing those three, the entire film is vexingly hinged on Adrien's viewpoint with his , and he is the most obnoxious one among them, narcissistic, supercilious and self-centred, ever since he meets Haydée, a stranger who stays with him and Daniel in a villa of their their common friend in Riviera for vacation. The arrival of Haydée disrupts Adrien's "doing nothing" plan of his holiday, especially when he can smugly occupy the moral high ground to hold her promiscuity in contempt, meanwhile, his resolution of not being one of her "collection" is persistently being challenged by Haydée's sensuality, a typical tug-of-war between moral superiority and libidinous inferiority.

Haydée, sports an ingénue appearance, is in another quandary, as she confesses without the usual pretence, she is looking for a normal relationship, but every man she meets only attracts to her sex appeal, obviously she forgets, birds of a feather flock together, if she wants a more meaningful relationship, she should opt for a different potential market, not those hormone-driven lads. Yet the heart wants what the heart wants, she is too young to realise that, and which is why she enjoys playing the catch-and-release game with Adrien, treats him like her usual prey, starts the first move then retreats to a blasé niche towards his tentative courtship, as titillating as it can be, sometimes it backfires. As the finale points out, the game-changer sometimes arrives unpreparedly, just a spur of the moment, that's how frivolous a man's thoughts are, this is where Rohmer hits the home run, but only if we could be saved from all the metaphysical jibber-jabber.

Daniel, the third footing of the triangle, is more elusive since mostly he is more of an outsider observing the game emotionlessly, until he participates in as a catalyst to meddle with the imbroglio, at one time it seems he would play a more significant counter-part in the contest, but after a bit, he is defeated and drops out, leaving the room for Sam (Archer), an American art collector whom Adrien is doing business with, to be manipulated for another test of the bottom line between the sex battle, only it will cost him an expensive Chinese vase from Song Dynasty.

Majestically shot under the natural light, after all, as cerebral and insightful as Rohmer's master stroke is, THE COLLECTOR doesn't strike the same chord as his two latter films (THE AVIATOR'S WIFE 1981 and PAULINE AT THE BEACH 1983) I've previously watched, but it will not discourage me from his works, it is just a little bump on the road, never mind.

Eric Rohmer is a very well respected director and my hating many of his films flies is not typical of many of the reviewers here on IMDb. You might wonder why I keep watching his films and it's because sometimes I have enjoyed them--such as with "Autumn Tale". But too often I find his films extremely talky and slow...too slow.

This story is about a pretentious and morally superior man named Adrien. He is the sort of guy who THINKS he's somehow better and more intelligent than most, but in this film he just seems like a jerk. This jerk goes to stay at some summer home along with his friend, Daniel. Daniel is a sullen and grouchy jerk and perhaps even more difficult to like than Adrien. Into this joyous household comes a free-spirited and VERY sexually liberated young lady, Haydée. Daniel and Adrien immediately look down on her because of her blasé attitude about sex but soon it becomes clear that the two men would be more than willing to score with her. Adrien takes the approach of a guy who is indifferent to her and he seems to spend most of the film convincing himself he does NOT want Haydée. By the end of the film will Adrien and Haydée 'hook up'?

The idea of a pseudo-intellectual snob who feigns indifference towards a sexually adventurous lady isn't the most exciting thing but it could have been much more interesting. First, injecting the movie with ENERGY would have sure helped. Instead, this movie is almost glacially slow and dull. Second, making the characters likable in some way would have increased the audience's connection with the film. I hated Adrien and Daniel in particular. Third, the movie should not have been done mostly with voice-overs by Adrien. Allowing the characters to talk and allowing everything to unfold without narration would have made it more interesting and less pretentious. Overall, I guess this is another one of Rohmer's stories that I just don't get.

I really appreciate the comments of other reviewer in helping me sort out the reasons I like Rohmer's "Moral Tales," even though I cannot identify positively with the players. Of course, that is what it is all about. When one cannot "pull for" someone, and must listen to the pretentious verbiage, it would be easy to dismiss such films. Here we have several characters who are either incredibly cynical or hedonistic. Haydee provides a true match for the two young men who seem to have an incredible amount of time on their hands. One could say that it's remarkable that they seem moneyed when their personalities are so caustic. Our narrator is a tall handsome man who once again has what he considers an unattainable "moral code." Haydee is sultry and cute and steals every scene she is in. She could easily be done in by the barbs tossed at her, but, ultimately, he is her own person and ultimately makes the decisions. Most would have been intimidated by the two asses at the summer house. She rolls along. Rohmer does some amazing close-ups to show the emotions in the faces of his characters. Quite a masterful film.

In all sincerity, I think I serve mankind better by taking it easy than by working. It's true. It takes courage to not work.

The truth has been spoken.

La Collectionneuse is a fine example how consistent Eric Rohmer was throughout his Moral Tales series. The story isn't important here, its the intensity of each scene and the tension among the characters till the last scene. Subtle jump cuts in the storyline can make you pause & arrive at your own hypotheses about how the characters are feeling in the following scenes. This is a visual treat - whether its the sights & sounds of the reviera house where most of the movie takes place, or the shots of beach or Haydee Politoff's delicious lips. You never begin to hate or love any character at any point - but they stay on your mind long after the movie is over. The characters, adrian, haydee & daniel exude human rawness - none are perfect or simplistic. As a viewer, I could not take anyone's side. They all seek power in their own ways, while exposing their sensitivies equally. Its a curious caricature of the complexities around love and life. Rohmer uses symbols like antiques to express how the relationships are built and broken. I could watch it again & again. A delightful Rohmer classic - its poetic, with a pacing that works as a meditation of sorts.

It's amazing how diabolical those people sound when they declare that the ovens are the only place for those lacking beauty-completely ignoring the variety of good human attributes. This is the trap that many architects,artists, and designers get stuck in the search for beauty. The film is interesting despite my hate for it's characters because of it's exploration of the ideas of beauty and perception,it also was filmed in a gorgeous old mansion in the country. 1967 was an interesting year in film :Week End,Oedipus Rex,The Graduate,2 or 3 Things I Know About Her,Point Blank,Belle Du Jour,Bonnie and Clyde, Dirty Dozen, this one is worth checking out in addition to those others.

(1967) La collectionneuse (In French with English subtitles) ADULT DRAMA

Third entry of Rohmer's "Six Moral Tales" movie co-written and directed by Eric Rohmer which centers on small time art dealer, Adrien (Patrick Bauchau) going to live on an isolated French resort or villa with his friend, Daniel (Daniel Pommereulle) only to be intruded and tempted by a somewhat promiscuous 19 year old young woman, Haydée Politoff. Automatically motivating Adrien to go a observation and narrating rant. I describe it as adult drama is because the conversation itself is intended for mature adults.

What is more fascinating is the fact that the three main characters of Patrick Bauchau, Haydée Politoff and Daniel Pommereulle are also credited (if imdb is correct on this) as writers for this movie as well, which meant that the dialogue exchanges may have been improvised.

This is an impeccable, triumphant achievement of deep triviality. Basically everything that happens are the feelings of the three characters who do nothing. The way the main protagonist communicates its feelings and relationship is basically this film's core. He speaks out things that come across highly artificial yet completely real and relatable..pompous yet humble. Concepts that are normally in the back of one's mind but aren't supposed to be communicatet verbally.

`La Collectionneuse' was not my favorite of Rohmer's moral tales. I had a problem with the two male leads, not their acting but the characters they portrayed. I thought they were self-indulgent, rather shallow, bores. Haydee was the only one with some life in her. I saw the story as a conflict between Haydee's doing something lifestyle and the inward looking lethargy of the two male leads. God they were bores. This moral tale is hardly worth seeing.