Triple agent

The action takes place in France, year 1936... An anti-Communist Russian exile that was on the White Army has to do such juggling acts to survive in those dangerous times.

Those who hate Eric Rohmer's works, his intellectual halo, his never ending dialogs will definitely hate "Triple Agent" as well. Yes, there are so much conversations, so many dissertations... and eventually you may lost the thread of the plot. I mean, this movie is not like "Summer tale", here you got stuff like spying and so, you have to know who's who, and that's pretty hard if the characters don't stop talking about anything. Maybe I'll have to watch it again so I get everything figured out.

PS: I'd like to underline the work of wonderful Greek actress Katerina Didaskalu. She's fascinating, and I hadn't have the occasion of watching her in a movie before.

My rate: 6.5/10

It's a good sight to see that Eric Rohmer's latest film- one that I saw on the same day I saw Godard's Notre Musique- is finally released on DVD. Because, frankly, I was a little befuddled why I didn't see it get release in American theaters after it was screened that day I saw it at the NY film festival. It's a curious entry in that it isn't one of Rohmer's typical relationship/'moral' stories, and at the same time is working somewhat against its genre type. Here is a thriller that has that same deep fascination with its psychology and morality of the characters like Hitchcock, while perhaps lacking the wit and excitement of the master. But there are also major political implications in the works here, and the characters know this very well. It's before the times of Melville's Army of Shadows in that there isn't even a resistance against the Germans- just the brewing of something odd &/or rotten amongst the Germans, Russians and Spanish.

I remember quite clearly how much I appreciated and had a good view of these times through the struggles Rohmer painted in this couple of Arsinoe (Katerina Didaskalu) and Fiodor (Serge Renko). It's interesting too to see how Arsinoe is basically apolitical in the early part of the film, and yet through the circumstances that follow both health-wise and elsewhere in the world her views begin to change. At the same time there is a spying sub-plot that is given weight by the attention to the scenes with the characters as opposed to just outright action. There's something that is fond for a movie viewer when seeing such difficult times portrayed simply, but with the conflicts brimming at the seams. It's not only about the political toss-and-turning going on, but about the loss of their insulated relationship, and what ultimately leads to what becomes of them. It's based on a true story as well, which adds some weight to it, and it's also as I recall filmed with the clarity that I've seen in the other (few) Rohmer works I've come across. A worthwhile viewing at the festival, and hopefully will get some airplay on IFC or Sundance or other for fans of the old Cashiers alumni.

Slow paced, and using a lot of dialogue, this film demands an attentive viewing. Decidedly, not recommended for people in a haste, wishing for a short respite between work and home. This film is Art, and History. Selected Pathé News reels from the period preceding World War 2 give us the context in which evolves a "White Russian" officer and his "Greek refugee" wife, living in Paris before, and during Nazi occupation. Is he a right-wing Russian, playing for the Nazis against a Communist France? Is he an underground agent of the Soviets, not opening his game even to affiliated communist friends? Is he a Nazi duping everyone else, as his wife once suspects? Is she as innocent as she tells, or is she a knowing part of her husband's triple spying schemes, or at least part of it? Spying is a question of technology, and that is shown in the end of the film, though the degree of technology used before our times of satellites seem ludicrous, but were terrific then. Spying is mostly a question of Humint (acronym for human intelligence), yesterday as today. French director Rohmer gives a master lesson in politics, History, human behaviour, love, and intelligence for all cinema lovers, based on true facts not fully explained even to this day. Highly recommended to spies of all colours, too - and they are legion...

Though denied a commercial theatrical release in the States (American indie fodder from Sundance now all but fills the old art house maw), this is a typically involving, if determinedly talky, pic from vet helmer Eric Rohmer. Known for his pointillist studies in manners & mores 'francais,' this late work tackles large political issues with a similar minimalist approach. In the years leading up to WWII, the last of the White Russians in Paris are struggling to maintain a presence just as the communist Popular Front comes to power and Stalin launches his deadliest internal purge back in the USSR. Rohmer keeps his focus on the wife of a Paris-based White Russian official as she watches for clues that might indicate just what side of the political fence this unflappably reasonable man leans toward. Or is he merely acting different parts for different situations? Rohmer's film-making is all essentials now, but the gusts of dialogue & functional camera set-ups needn't fool you. Rohmer remains an intensely visual artist with the easy mastery of the art that conceals art. Everyone is superb in their roles, but watch for Cyrielle Clair as a wealthy gossiping friend, she's Parisian chic itself.

Eric Rohmer makes a spy film – though as one critic puts it, that doesn't make him likely to be a front runner to direct the next James Bond movie. Set on 1936, under the shadow of the Popular Front victory in France's elections, and based on the real life case of Russian spy Nikolai Skoblin, the movie is mostly about people in closed rooms chatting about politics. But most of the talk seems intelligent and engaging (by the way, the movie follows the real case closely, if you believe the Wikipedia article about Skoblin). The actors are fine, as usual in Rohmer films – Renko is slippery as the titular spy, and Langlet seems lovely as its naive communist neighbor. Now the Popular Front victory of the time probably means next to nothing to most people today – but it was probably a life moving experience for Rohmer – who was 16 at that time. In a way, this film is about Rohmer again settling scores against the French left, though thankfully, his conservative politics aren't as overbearing as in "The Lady and the Duke".