Conte d'automne

It is autumn in the Rhone valley and grapes are being harvested. Magali (Beatrice Romand), the owner of a small vineyard inherited from her parents, lives alone and attends to her vineyard with the same care she gives to her frizzy black hair. She tells her best friend Isabelle (Marie Riviére), a librarian, that she has no interest in meeting men. "At my age," she says, "it's easier to find buried treasure." Isabelle, however, has her own ideas on the subject and takes out an ad in the local paper to find a suitable partner for her friend. Winner of won the award for Best Screenplay at the Venice Film Festival, Eric Rohmer's An Autumn Tale, the final film in his Four Seasons series, is about matchmaking but this time it is about the need for companionship of older women with grown children.

Like many Rohmer films, a complex web of events and relationships arise from seemingly simple acts of friendship. Isabelle meets Gérald (Alain Libolt), a courteous and laid back salesman through her ad and goes to lunch with him a few times enjoying the idea that she can be still be seductive. After toying with the notion of keeping him for herself, she finally confesses that she is happily married and the whole seduction routine was simply a ploy to introduce him to her best friend Magali. The situation becomes further complicated by the desires of Rosine (Alexia Portal), her son Leo's (Stephane Damon) girlfriend, to set her up with her ex boyfriend Etienne (Diedier Sandre) a philosophy teacher with a penchant for younger women.

Unaware of the others matchmaking efforts, in a true Shakespearean twist, both Gerard and Etienne are invited to the wedding reception for Isabelle's daughter Emilia (Arelia Alcais) and the way it works itself out is delightful to observe. None of this of course unfolds according to plan but the beauty of the film is not the plot but the gradual development of complex three-dimensional characters through typically Rohmerian intelligent and witty dialogue. An Autumn Tale, though it contains some fanciful romantic intrigue, unfolds in a spirit of playful adventure, without guile or mean-spiritedness. Like the conclusion of Lindsay Anderson's O Lucky Man, we smile for no reason and Rohmer leaves us with a dance of joy and a final song: "If life is a journey, we hope your weather's fair, wild flowers are green and blue, travel safely, all of you".

"Autumn Tale" is a friendly, rambling french film. Beautiful visuals. And, as always, the french have a realistic, sanguine approach to female and male beauty, where the women of the film are not hollywood-ized, but their natural beauty is enhanced by the french countryside's autumanl splendor. One middle aged woman plays matchmaker for her friend, but does not tell her she's placed an ad in the personals. Someone else plays matchmaker, and then threads of story lines appear and vanish like possible lovers come and gone. Rhomer is not a natural storyteller, but this film is not terribly amibitious or weighty, but a golden, good-natured romp through french womens' psychees and sweet taut clothing. The female leads are compelling and edible, again, because the french love to present beauty through the lens of reality and possibilty. Tasteful lust. Realistic. Wild, dionescian hair on the earthmother, tilted uterus'd owner of the winery. Tres elegante is her friend living a bit vicariously through her man-hunt. Fun film but don't expect a great story here. But, oooo la la, what curves and sex have the women of middle-aged france.

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And he knows how to write dialogue that is revealing, engaging and realistic, no small feat; and it is perhaps this talent more than anything else that has made Eric Rohmer the great director that he is. Here uses France's Cotes du Rhone wine country as a backdrop and symbol to help him explore not only autumn love, but the enduring friendship of two very different women. Isabelle (Maire Revière) is an elegant, tall, fair haired, blue-eyed haute bourgeoisie and her friend Magali (Beatrice Romand) is a short, earthy, dark-haired petite winemaker originally from Tunisia. Isabelle is happily married; Magali is divorced. They are both forty-something.

Isabelle's daughter is to be married. But the focus of the film is not on the bride and groom, but on the older generation, on Isabelle and Magali. In this way Rohmer combines the warm and enchantment of the celebration of autumn life, when the grapes are ripe for harvest, when love has its last chance, when Dionysus has his festival, when the heat of summer is over and we are ready to reflect and realize what is really important before it's too late.

Isabelle feels this strongly and wants her friend to find happiness before another winter comes. But Magali, because of the vineyard, doesn't have much of an opportunity to meet men, although she allows that she would like to. She is at that delicate age when one can try again or shrug it off. Isabelle intervenes by going to a dating service and placing an ad. She meets Gerald (Alain Libolt) and they have lunch (she insists on lunch) two or three times and she evaluates him. He is modest, somewhat suave and amazingly diplomatic. They share a certain attraction.

Meanwhile, Rosine (Alexia Portal) who is dating Magali's son and who is very close to Magali, perhaps more so that she is to her son, also wants to find a mate for Magali. She proposes her philosophy professor, Etienne (Didier Sandre), who is in fact sweet on her. He is the kind of man who, as Magali observes, likes them younger as he grows older. But maybe she will be the exception. Maybe he will finally grow up. Both arrange for their choices to meet Magali at the wedding.

As usual Rohmer explores humanity and how we relate to one another, and finds both love and a kind of sweetness that is liable to bring us to tears.

The resolution of the film is followed by a most endearing anticlimax in which there is a dance of joy.

Lovely, like all of Rohmer's seasonal films. I discovered them very recently, but I was living in France around this time and I think this film is such a fantastic representation of the end of the '90s in rural France, and it hasn't changed a lot as I still go back to the vineyard region, and this captures the whole spirit and the kind of people you meet there beautifully. I always think Rohmer's films feel extremely real, all the people in them are very authentic and I like the way that, as usual, he explores the places in between the very stark relationships portrayed by Hollywood. If anybody has ever captured real France, then it's in this film. And it's so refreshing to just enjoy a film that feels like a very natural vignette, I wouldn't have minded even less of a romantic plot, it's just nice to be with these characters for a few afternoons and evenings in the middle of nowhere.

I was working on my computer with the tv nearby, and I happened upon a French film on cable. I didn't think I was particularly in the mood to read subtitles, but as I glanced at the screen, bits of the story began to pull me in. Before I knew it, over an hour and a half had passed.

I wasn't familiar with any of the actors, which probably made the story of two very good friends and their loved ones even more compelling to me. Now I'd be interested in seeing anything else featuring Marie Rivière or Béatrice Romand. Rivière was engaging as a vulnerable yet capable business woman, and Romand had a quiet and powerful energy as a widow who seems to have retreated into the "safety" of working on her vineyard.

Romand made me laugh at times with her moments of "attitude" and temper, and Rivière kept me guessing what was coming next. The story unfolded nicely. I found myself on the edge of my seat much of the time. The story is somewhat of a cautionary tale in some ways, yet very realistic in terms of human nature and relationships.

There were some actions and situations I found to be less than appropriate, but in some ways the screenwriter seems to possibly have the same view...

This movie is a must-see for people interested in the politics of dating, match-making, romance, and friendship.