Racconto d'inverno

I just got a chance to see this movie after seeing all other Rohmer's movies I could get my hands on. After seeing it, I must say it's a superb Rohmer, one of his best, certainly the most accomplished of his Four Seasons, highly reminiscent of My Night With Maud, which still remains my favorite film of the perpetually youthful director. Here you will also find a philosophical discussions on the nature of beauty, love, Pascal's wager (familiar item for a Rohmerian, isn't it?), discussion on personal ('intimate') vs. Catholic faith, the immortality of soul. Of course, the heavy doses of philosophy are beautifully integrated into the film, just like in Maud. These discussions seem organical, natural -- the characters really mean what they say here. Like one character said to the main heroine, "You're articulate, because you let your feelings talk" and "I love you because I can read your heart", even if the heroine seemingly has a change of heart every 5 minutes :)

I must applaud the lead actress(who's also a great beauty) for her heartfelt, genuine performance. I felt like I knew this woman somewhere before, that I could understand her every action and her every thought. The film is also bittersweet, like a many Rohmer films, yet in this film the melancholy feeling is more pronounced, somewhere on par with 'My Night with Maud'. It also reminded me of Richard Linklater's "Before Sunrise"; this film beautifully depicted what feelings Linklater's Jesse and Celine might've had during those long 9 years of separation -- the feelings of longing, of hope, of great joy they'd find in meeting each other again, of "the joy so great it'd be worth giving your life for", in the main heroine's words.

What else to say -- I loved these people, they felt real, genuine, and above all hopeful and blessed by love. I loved Felicie and her absent Charles as much as I loved Rohmer's Maud and Jean-Louis, Linklater's Jesse and Celine, David Lean's Laura and Alec -- that is to say a lot. By the end of the movie they've become my friends.

The second of Eric Rohmer's Four Seasons. This is a beautiful movie. Low-keyed, quite, slow- but not at all too slow. Simple story with complex characters; Interesting to the end. I can't wait to see the other "seasons".

This second in Rohmer's Tales of the Four Seasons begins with a rapid montage that shows the amazingly romantic beach vacation romance of Felicie and Charles. The two appear to be quite in love but continuation of their relationship is hindered by Felicie foolishly giving him the wrong address. Cut to 5 years later and Felicie is living with that mistake and Charles's daughter. Her subsequent relationships with men have not been successful and in fact around half of the film shows the two major ones in their late stages.

As I watched Felicie and her attempts to get along with her two suitors I couldn't quite decide how to interpret her actions. Clearly both men cared for her but she was unable or unwilling to care for them to the same degree. I wasn't sure whether to view her actions cynically and assume she was just using the missing man as a larger than life figure which other men couldn't hope to measure up to or to view them more generously and assume that Charles was actually her true love. The beauty of the film is that ultimately it could be seen either way.

Regardless of her true motivations it was quite clear that she really had faith in her love for Charles. In fact, it seems to be in her nature to take things on faith. She relies on intuition rather than logic to make decisions; this often makes her actions seem unintelligent but to simplify her this way would be a mistake. In a conversation about reincarnation she makes arguments that her friend recognizes as being similar to the philosophies of Pascal and Plato, two writers she hasn't read.

Although the plot of this film is more conventional (i.e. it has something like a resolution) than most Rohmer films it still manages to be quite effective and emotionally resonant. The cinematography is quite good, especially in the opening montage and the urban night scenes. Also, once again Rohmer does an incredible job of capturing the essence of a complex character. One of the best Rohmer films I've seen

A most brilliant, brilliant movie. Rohmer here exhibits nothing but true mastery in this most insightful work on the power of love over all else. This is a movie for romantics, dreamers and those who have known what it is to live for love.

Being "a Rohmer", the movie is by no means fast paced but as each minute passes you lose track of time as you become ever more consumed in the story; and it's a story whose tension almost effortlessly builds as the movie progresses; fulfilled in part by Rohmer's brilliant direction but also by the exceptional performance of Charlotte Very. Her acting in this movie is so brilliant that it's sometimes difficult to recall that you are actually watching a fictional movie and not a fly on the wall treatise on the nature of love that never dies. The question one must repeatedly wonder concerns the nature of love and more particularly whether one can ever love other persons the same way you loved your first? Whether your views change or not from watching this movie, it would be difficult not to be moved by its tale. All I can say is that by the film's ending I really was hungry for more - which rarely happens to me when watching movies! That being said, this is definitely not a movie for everyone: If your "top ten" includes Transformers, 300, Fight Club then you should steer well clear of Conte D'Hiver. The action in this movie is only of the psychological sort. Rohmer fans will (needless to say) be instant converts. But if you enjoyed movies as diverse as Before Sunrise, or even Casablanca you'll certainly not want to miss Conte D'Hiver/A Winter's Tale. Without a moment's hesitation, I give it 9/10. And so should you! Please watch it & see why...

It has been a pleasure catching up with the eminently civilised cinema of Eric Rohmer recently. He is a director who needs the re-see treatment every so often as many of his works tend to blur into one because of their similarity. Of course the beach ones look different from the urban ones but it is sometimes difficult to distinguish one group of characters talking around a table from another doing the same thing unless one knows the films really well. Although there is no denying that Rohmer is the master observer of the minutiae of middle class French everyday living, I find my response to his works differs considerably from film to film, always according to the degree with which he interests me in his characters. In one important sense however all his films are worth watching and that is the skill with which he evokes the most marvellous naturalistic acting from his actors, particularly from young women. Even a film as tiresome as "The Aviator's Wife" is redeemed by the the masterly performance by the young girl the hero meets in a Paris park. For anyone wishing to embark on an exploration of Rohmer, the tetralogy of films of the four seasons made during the late 'eighties and 'nineties will provide a particularly fertile experience. The characters in "Spring" and "Autumn" are admittedly the least interesting and I find the viticulturist and her matchmaking friend in "Autumn" rather tiresome. The young man holidaying in "Summer" has dilemmas in his relationships with three girls about which one really does not care, but the film is most agreeable to watch. If these three films represent Rohmer at this more mundane, "Un Conte d'hiver" is a different matter altogether. There is nothing discursive in a work in which the director seems to have balanced form and content perfectly. It is like a sonata form movement in music with a long central development bordered by a short exposition and recapitulation. In the opening, young man meets young woman on holiday. It is the passion of a lifetime that ends with the misadventure of a confused address. Unable to find her child's father the woman resigns herself to trying to find love in other men. She vacillates between a hairdresser and a librarian, nice enough people but we know as she does deep down that there can be no substitute for that idyllic holiday encounter. Our self identification with the dilemma of the young woman, marvellously played by Charlotte Very, is so acute that the resolution when it eventually arrives literally made me shout and cry for joy. In "Conte d'Hiver" Rohmer has given us one of cinema's great feel-good factor films to stand alongside "It's a Wonderful Life" and "The Quiet Man".