Die schöne Hochzeit

Beatrice Romand is a perfect cast for the hot-headed, impetuous, self-confident and immature young girl in the leading role, while Andre Dussollier plays the role of a quintessential bourgeois Frenchman, charming, courteous, discreet, and tactful. His tact has reached the point of being hypocritical which makes the audience exasperate for the young girl, who has been kept on tenterhooks for too long and would not take no for an answer. Her insistent and blind chase of a man who is obviously not interested in her is only made worse by the reticence of the object of her pursuit. Rohmer's films are usually wordy sometimes tedious, they suit only certain type of audience. This one is definitely not tedious. An interesting and comical study of manners and mentalities in different classes of French society of the late 20th century.

I'm a fan of the hushed qualities which are Rohmer's style. I admire the seamless flow between scenes in this film, between Paris, Le mans, the atelier, the train and her mothers house. Noteworthy is the almost complete lack of music as with many of his films, however there is a poignant somewhat outdated 80's electronic tune that runs in the beginning, the credits and at the party.

I found myself a little less hooked emotionally with this film then with 'Le Rayon Vert', 'Pauline a la Plage, and 'L'ami de Mon Amie'. When I watched those films I was really pulled at the heart strings by the plight of some of the characters.

What was different with this film? Well on the contrary to what others have wrote here I didn't find the leading actress Beatrice Romand to be nearly as compelling as Rohmer's other leads. I think she took the idea of a head strong young woman a little too far, ie; marching around like a bulldog for half the film, seemingly bursting in and out where ever she went. I think she could have played the head-strong role with a bit more subtlety. However at the scene of her party and in one of the final scenes in an office she played the role divinely. Particularly at the party there is a sense of tension which is unexplainable which she radiates.

As a big fan of Rohmer and comparing with his other works I give this film a 7. This film for someone who has not experienced a Rohmer film will be like an almigthy gob smack. You will see with the simplest elements and without manipulation he is able to create a sense of compassion for the characters and tension with a slight pacing that resembles real life.

I like Rohmer realistic films, without background music, without closeups. A young 23 years old girl, still quite narcissistic, suddenly decides to reshape her life, specifically, to get married. The idea overwhelms her so completely that she's no longer interested in selecting someone she loves, rather impatiently first available candidate. She believes that the power of her charms (looks and personality), her resolve, will win over anyone. She's being supported by her girl-friend and somewhat skeptical but loving mother. Her plans are frustrated despite of her extraordinary efforts. The man is simply not interested.

There are many lessons in this example. Personality of the main character is very well developed, palpable, vital. I feel I knew someone like that. None of the characters are idealized, they all are very real. We see a slice of life, specifically French life, with its values, culture, attitudes.

Rohmer, first and most importantly, a teacher, helps us to see something important in human relationships, something very subtle.

Rohmer died this year at the age of 89. He lived longer than any of the French New Wave directors, a movement he belonged to. He believed that his films are closer to a kind of novel rather than to a theater. In my opinion, his usage of cinematographic tools was too subdued, timid, as if he was not quite sure what to do with them - and this is reflected in my rating. But whatever tools he did used, he did it well. His uniqueness and importance is beyond any doubt.

The contradiction between traditional and modern, intellectual and emotional. Everyone governs themselves with philosophy but reveals themselves more deeply in the minute details of expression. A momentary pause or a botched smile illustrates volumes of character.

I have seen most of Eric Rohmer's films, but it took me a while to see this elegant movie from 1982, perhaps because it has the critical reputation of being one of his weaker efforts. Sabine (Rohmer regular Beatrice Romand, in a fine performance that makes us empathize with an immature and not very sympathetic character) is a young woman, tired of her relationship with a married man. She breaks up with him and decides it's time to marry. Not to anyone in particular, she just thinks its time to find someone that is good enough and settle with him and marry. In one party, she meets Edmond, a thirty-something lawyer (Andre Dussolier, a character actor from many French movies), a serious and handsome man who is a cousin to her best friend. She approaches him, he is polite to her but seems uninterested in her advances. But she interprets this as him playing hard to get, so in the following days she would step up her advances, to the point where she starts acting in an increasingly erratic manner. Not much more than this happens in the film, until towards the end we learn of the result of her pursuit of Edmond.

What some reviewers objected to in this film was that her behavior was unrealistic, but I don't feel that way (I certainly have known women of this type, though of course movies tend to exaggerate behaviors). "No man can resist me", Sabine boasts when Edmond politely rejects her advances. She has the arrogance some beautiful women have when they are young (since beauty fades and tends to do it faster than expected, women like this are in for some reality check when they age).

So, summing up, while this might not be among Rohmer's very best, it is certainly well done, and above his average.