Le rayon vert

It is not unreasonable to say that Rohmer's films are without par. No director has ever come close to his exquisite and acute observations of the human psyche, and so Rohmer's films are probably only comparable to each other. I find that the more films of his that I watch, the more I am able to see each film clearer. It is no wonder that out of the directors that emerged from the French New Wave, only Rohmer has been able to sustain critical acclaim for his films consistently.

Many detractors find fault with his style -- there is little or no music, the plot is only a very very rough skeleton of what actually goes on in his films (as it takes a backseat to exploring the psychology of his characters), there are many moments of silence, and those moments of dialog are mostly ramblings about philosophy, love, and life instead of plot advancement. Well, I find it quite difficult to articulate the charm of his movies too, since he isn't particularly flashy in his writing or his direction.

His films are largely introspective, drawing us in to view the character's psyche instead of the events that happen to him, as such his films are always introverted and quiet, where it seems nothing much happens. At first glance, the lead characters of his films seem to be all from the same mold: gloomy, quiet people who are extremely prone to making fickle choices and outbursts of emotion. But the more Rohmer you see, the more likely you'd be to distinguish a pattern among them and their distinctive traits in his characters.

They are always caught in a 'limbo' for lack of a better word, usually either caught between two choices that may tear their lives apart or make them better, or caught between two emotions that are pulling them in totally different directions. They are often afraid to take the leap, take the risk in deciding which point of action to make, and thus the films largely comprise of them searching for themselves, their identities, their desires and their wishes. They are as equally clueless about themselves as we are about them initially, and so it is folly to attempt to analyze them at the beginning. And as the film progresses, they learn more about themselves and perhaps we might learn a little more about ourselves too after we have gone through the same emotions and internal struggles with them.

That every lead has a distinctive trait is what separates his movies from each other. Each one of them is stuck, and exemplifies the different nuances of our struggles, and so they might all appear gloomy but they vary in their intents and sentiments. In The Green Ray in particular, the lead character is torn between the craving for solitude, and the unbearable loneliness that comes with it. To say I relate to it probably cheapens the film to a certain extent, but it is the best I can say with Rohmer's films. They portray a small corner in our lives that we have been before, that it is impossible to say any less. The fact that he is able to take each corner of our lives (and its accompanying mood) and blow it up on the big screen into a full-length feature film that is neither didactic nor ever fully reassuring, shows the mastery of his craft. Like us, he is unsure and searching, and he portrays that in his films beautifully.

All of his oeuvre is definitely worth watching, (save for the god-awful La Collectioneuse, one can only assume that he was going through a shitty state of mind when he was making that pretentious junk), and the best thing about Rohmer is the more films you see of him, the more you see in his films. The reason why I singled out The Green Ray (or Summer on the US DVD), is because of its brilliant lead actress Marie Riviere, which is not only immediately likable, but also painfully personal. Her journey is one that I can slip on comfortably anytime, with an ending that is equally sublime as it is magical. I don't want to spoil it for anyone who is intending to pick this up, but let's just say that it is probably one of the greatest moments of cinema that I have witnessed in my short life. To be able to capture it with such beauty and in such a context, not only offers a respite from the turmoil that we (the lead character and I) have gone through, but also a hope of self-discovery and awareness, makes this gem a great slice of cinema.

Watching the film,we keenly feel the same inevasible loneliness as the heroine Delphine.While trivial conversations keep going and going(seems non-stop for ever),the loneliness become more and more intolerable.No one can,or is ready to,understand others(even being friends).Then Delphine's every attempt to communicate has to get dissolved in pretence and indifference from others.It's the common situation shared by everyone who still hold his/her dreams like Delphine.

Rohmer has considerable mercy to show the final appearing of "Le Rayon Vert".£¬It offers us some redeeming hope so that we can collect our confidence and faith in life to looke for "Rayon Vert" of ourselves.Maybe we will be still waiting in the final twilight of life,but our dreams will remain beautiful and vivid the same,right?

In the film,Rohmer shows more sympathy and affection on his characters than usual,much considerately as we see.Of course I just watched a few from him.This time I see none of the distinct irony(sometimes acrid) in formers.

btw,the actress Marie Riviere portrays "blue" Delphine perfectly.And I surprisedly find her also in "Writers",along with Rohmer. Expect more from them.

The Green Ray is certainly a strange fish - quite simply it's about a single girl's (almost)wasted summer, going on holiday 3 times, and each time finding herself bored and frustrated, and ultimately an outsider. We see scene after scene of holiday makers having a good time, and poor Delphine just not feeling at ease. She is somewhat opinionated, for example in the vegetarian lecture - we've all had to sit through one of those, and liable to burst into self-pitying tears, but Delphine never the less gets my respect for her refusal to opt for second best.

Very few directors would be brave enough to make a film like this, but Rohmer pulls it off magnificently, and in the process delivers one of his finest movies. I can see why some viewers might find it a waste of time, but having been on a couple of solo holidays in the past I can sympathise with Delphine's predicament. Plus The Green Ray rewards the patient with a truly poetic finale.

I am a big fan of this director. I saw this film many years ago, and it made a great impression on me. It is one of the most hopeful movies I have ever seen. It think it captures how magical moments can intrude into our lives when we least expect them. This is an exceedingly quiet movie, but stay with it, it builds up to a wonderful catharsis. The lead actress gives a good depiction of a frustrated, melancholy woman trying to find her way out of difficult period in her life. To enjoy this movie, it helps greatly if you are fascinated by unusual astronomical phenomena, and French and Swedish women. . .and you must be willing to stick to a movie which has long moments when not much seems to be happening. I guess I really like the lead actress, she is superb!

Something new on the screen! The sun shines, the wind blows, the clouds scud but it never rains. The treetops shiver in the melancholy gusts, the people gasp and murmur and gesticulate, and tears run down our heroine's cheeks. Again and again her face contorts as her fragile boat grinds on the rocky bottom.

A frustrated secretary lives for love. When a chance encounter informs her of the green ray, she is enamoured, thinking that this controversial phenomenon will bring the psychic clarity she so needs. She has so little self-esteem that she identifies with everything around her, she is somehow somewhat egoless, a pair of eyes, a pair of ears, a tortured heart. Her frame is delicate, almost skeletal. Fear is eating her soul.

She cannot reciprocate the robust friendship of one group of people due to her delicate vegetarian outlook (which she paradoxically defends with great vigour and the most articulacy she summons in two hours on screen). But she is excluded also due to the delicacy she cannot control (her sea-sickness, her love-sickness...) Wherever she goes, in fact, she cannot make friends. The ski bums of the alps treat her with relaxed cool cordiality but she leaves immediately because, she says, "I know that place". The implication is that she thinks she's leaving because the place is decadent and full of one night stands but that the underlying reality is of her not being able to stomach any reminder of herself. She wants to be reborn with a childlike clarity in the last miraculous light of the dying sun. This emphasises a cycle of small deaths and rebirths - falling into and out of love, leaving home, coming back again, leaving again.

This film is deeply concerned with one person and may seem obsessive, but it's one way of looking at life and has of course many resonances for our self-obsessed selves. Of course we cannot escape from ourselves, though we can expand that self so that it is not so claustrophobic to live in.