Conte de printemps

This movie and others of Eric Rohmer have a very interesting and unusual style. Character development is at its peak. He may give lesson on it to many other directors. The movie takes place in only 4 or 5 settings, one of which is a garden in Fontainebleau and others are apartment rooms. So the main focus is not the scene but the characters themselves. The subject of this movie and most others of Eric Rohmer are basically romantic relationships. Female characters express their emotions all the time. Some of them have more or less consistent thoughts while some have varying during the movie. They present their subjective thoughts on a particular event so the viewers are left with several choices. The literature in conversations are wisely written line by line. It consists of philosophical, psychological and faith-based arguments. Such a rating for such a low budget movie. This is the success of Eric Rohmer.

It may seem strange that with all the great Rohmer films to choose from, that this would be my favorite. After all, it is a slow moving film, with a threadbare plot, even by Rohmer standards, and yet completely enchants me. Jeanne, the main character, is an ordinary, middle-class woman, at the start of her career as a teacher, at the start of a relationship with Mathieu (whom we never see) still trying to figure her life out. She recognizes her own shortcomings, she thinks too much, she's not able to confide in others and she is sometimes too accommodating to people. Yet she is a noble character, with great integrity and kindness.

There is a wonderful little scene in Natasha's apartment. Jeanne is grading papers in the dining room as Natasha comes home from school, and in the kitchen, the living and Natasha's bedroom are flowers Jeanne has bought to thank Natasha for her kindness. Natasha, in return, is so touched by Jeanne's act of kindness that she can barely contain herself. This one little scene shows so much. Jeanne's dedication as a teacher, her kindness to people, and flowers to herald in the first days of spring.

As their situations develop, and really there is no reason to speak of the plot, there is a deepening bond as the viewer spends more time with the characters, in simple things, doing simple chores, cutting potatoes, folding clothes, listening to music, and paying attention to what is said, and not said, in their conversations, and at the end of the movie, you seem to have made some very good friends. It's a wonderful thing to be touched by art, but it is more wonderful, I think, to be touched by ordinary life and ordinary people. By not attempting to, Rohmer has made a masterpiece.

The first in Eric Rohmer's Four Seasons series, A Tale In Springtime is the story of an introverted young girl (Florence Darel) just reaching adulthood who takes a liking to an older woman she meets at a party (Anne Teyssedre) and determines to match her off with her father (Hugues Quester), despite the latter's already having a lover of his own. There is a certain absurdity to this, apparent to both adults, who though both reluctantly attracted to each other resent Darel's attempts at matchmaking. Nevertheless, both of them are intelligent enough to understand that there is no 'proper' way to meet, and are alive to the possibilities that life brings them. Darel, for her part, is a persistent catalyst. As with all Rohmer films, the stage is set, in an age of increasing impermanence and uncertainty in human relationships, for a series of minimalist reflections on love and life.

There is no sense of inevitability in this film; indeed it acknowledges throughout the unpredictable consequences of the choices we make in life. The implicit message of the film is that it is not so much the choices we make, but the cultivation of personal sensibility, awareness of others and honesty that will offer us the greatest chance of happiness. But then again nothing is certain! If, like me, you love Rohmer's films then you will adore the subtlety of this film and enjoy the challenge of absorbing the numerous philosophical reflections that are an essential part of it. The acting is good, and you care about what happens to all three protagonists, although not too much; their dilemmas are our dilemmas too, but whatever choices they make now, they will still be making choices for the rest of their lives.

And that is as it should be.

From the beginning of this film to the end Jeanne is constantly displaced. The first scene has her returning to her own apartment after a long absence to find the cousin she was allowing to borrow the place is still there in spite of her agreement to leave a day or two previously. Although she desperately wants to return to the order of her own place she pretends that she was just stopping by to pick something up on her way back to the place she shares with her out of town boyfriend. However, she does not feel comfortable returning to this disordered place so to avoid it as long as possible she goes to the party of a former acquaintance. Here she meets Natasha and the plot gets started.

Natasha lives alone in a big apartment and she invites Jeanne to stay with her a few days. Jeanne mostly feels out of place here as well but her two day stay stretches into something like ten before she is finally able to return home. During this time she grows increasingly agitated which causes her to act distrustful and paranoid. Unfortunately, her new friend Natasha is acting much the same way toward her father's current love interest and the combination of a negative atmosphere and her own paranoia put her in a rather unpleasant situation.

In spite of the general tension of the plot, A Tale of Springtime ends on a very upbeat note that suggests most of the distrust the characters felt toward one another was unfounded. Indeed, the blossoming of new relationships and the general happiness of the characters make Spring a fitting setting for the film. Still, I couldn't help but feel that this wasn't one of Rohmer's strongest efforts: sure, the characters were just as natural as ever and the dialog was even more chock full of interesting ideas than usual but the cinematography wasn't all that special. All things considered, I would say this was quite good but nowhere near the best Rohmer has offered.

To summarize, the film is basically about the beginning of a friendship between two women: a philosophy teacher and a younger pianist. The pianist wants to set up the philosopher with her father, who is already seeing someone else.

The resulting tensions play out at a summer cottage. The film is mostly dialog, and every feeling or impulse gets examined. Which makes sense, because of the bourgeois, self-involved bent of the characters.

I think the greatest point of action is when a dish gets nearly dropped (but it's saved and the characters then argue over who was to blame).

Although it has some pleasing insights, I wouldn't recommend the film to most people because it's simply too ponderous. Frankly it could use some comic relief. The fine country setting mitigates the over-intellectualizing somewhat, but Rohmer has made other films that are better.