Le beau mariage

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.

Rohmer likes his morals and the moral for me here is how moving from one stage in life to another can't be forced. We can't decide to be in a different 'place' in life on a whim, without doing the maturing first. There's no short-cut. The cringeworthy party scene is perhaps the telling scene. Not just because of Sabine's inability to crawl out from childish ways, but equally Edmond's inability to cast his mind back to a time when he was giddy and foolish and work didn't matter. The supporting cast - friend Claude, Mother and the antiques dealer all have wisdom that comes through experience, but they know better than to waste too much breath with logic that headstrong Sabine is not ready for. A rites of passage, "find-out-the-hard-way" movie that's not as slight as first glances might suggest.

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.

Frankly, this is not my favourite 'Rohmer': I far preferred Conte D'Hiver, Le Genou De Claire, & Signe Du Lion. Having said that, I still warmed to this quirky but engaging story about an independent, self absorbed, head strong, young lady of 25 who one day decides: enough's enough, it's time for marriage! And then...

Overall, it's a very watchable tale, and well worth your while if watching what happens to someone who suddenly decides it's time to settle down with the right one (i.e., he who she's yet to meet!) appeals to you. Rohmer, directs with mastery. And in saying so, I fear that in the hands of many an other director, I'd have not found the tale so satisfying to watch. Kudos too, must go to Ms Romand (from Rohmer's 'Claire's Knee' & 'Autumn Tale') for her playing the lead character so well. The casting & acting of the other actors was very good too.

Overall, I recommended Le Beau Marriage, with the caveat that it's definitely not a movie that everyone would like. I strongly recommend you read the promo blurb first, and ask yourself if such a story might appeal to you? And if so, by all means you should definitely watch it. For me... I enjoyed it enough to say it's worth - 7/10

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.