Although occasionally surprise us, as in that wonderful introduction to his Winter's Tale, Rohmer's films have always been characterized by, among other things, to dispense with extradiegética music, not have soundtrack, which must make sense to today's viewers to see that his film is pure music, that each of his films is a symphony in itself, in which images and words, time and space, drawing the line are fed a perfect score imaginary. In these circumstances, needless music. Is the music.
Because if something linked to the directors of the Nouvelle Vague is to understand cinema as means of life, and live life as you live the movies. Therefore, to Rohmer film was an art of arts and, therefore, the film was the life and reflected a path of discovery of what is usually hidden from us routine. Yes, life plays hide and seek, and art in your search, go through the forest finding clothes that give hint of what we are and what we will. This was the Rohmer film, obsessed with the pursuit of beauty and magic occult everyday life, obsessed with delving into the interstices, in those places ambiguous, between the heart and desire, between the brain and conjecture, not really know where or to whom they belong. Rohmer is the magic of the infinitesimal variations, combinations, chance, purity.
few hours ago that Eric Rohmer has left us, and what I feel is to see that this can not be extended shelter library staff involved in their films.
There is something amazing in the work of Eric Rohmer, and it is his ability to play different levels, ie can empathize with their very different films from optical, either through an analytical, purely intellectual, either through a formal and Cartesian view, like him, attentive to time and space, how to tell and to show, that purity of essence achieved by stripping it sometimes seems extinct in a world saturated with rhetoric, either through its multicultural game, aware of the pictorial references, historical or literary, either through the idea of \u200b\u200bcinema as shelter of their own lives, as a mirror and therapist, or whether through connecting with their characters, sometimes shy and sometimes arrogant, sometimes mournful, sad or vitalistic, religions and intellectuals generally, but in the end always fragile, unstable, weak and flawed, like all human beings, hanging by a thread that often try to hide. Rohmer gets to the essence of human being, and therefore is able to reflect all, reflect all through characters with a very limited range of features. Never mind, never mind: It's known that you can make it to all from the most local, the most concrete. But back to the level of understanding rohmeriana, movies created addicts, especially those who are constantly looking for beauty around you, beautiful images and sounds, beautiful ideas and emotion, beauty that finally emerges from abstraction, and fans will see them in that quest Epicurean (rather than the realization itself) a source of vitality and survival. Rohmer
mathematician. Rohmer the perfect geometry. Rohmer struggle putting the privacy and sensitivity of the emotions suggested in the coolness of a mind that sometimes persists in hermetically isolate the world of ideas in the world of emotion.
religiosity, Catholicism, has marked the work rohmeriana from the beginning, as you can see the nuances implicit in Dostoevsky's The Sign of Leo and as a statement or early in their final My Night at Maud's. But more than that, and this is what humanizes him and makes him one of the greats, Rohmer's films are marked by constant doubt, that doubt did not know whether or not to lie Maud, whether it is worthwhile to expand the collection of female conquests as it expands a set of butterflies, if women pursue leads flyer somewhere, or is justifiable only for the mere pleasure of watching and looking, if chance is a cause or a consequence, if the illusion to see the green flash can change the way you view life, if the cider, crepes and summer can be summarized a way of feeling, if you can make a matchmaker in the middle of fall season, or if the political intrigues in the middle worth of human relationships, whether in full French Revolution or the English Civil War.
Rohmer with his long shots and endless dialogue.
A challenge: to deal in depth without being moralistic morality, drawing a look equidistande between responsibility and desire, between duty and what makes life worth living. Ambiguity is often steeped in grandeur, and the lack of answers is often the best questions, even when irony is established as the only possible salvation. Like Rohmer's irony is vision and beauty, and not taken too seriously himself or to others divests his films what a load of gravity that makes them irresistible to the perfect pair.
If Truffaut was the lover of love Rohmer was the watchers, the student of sentimental love, erotic, playful and sentimental in all its variations, combinations and possibilities. As a non Perec liked to beat around the bush.
But we must not forget that not everything at Rohmer are amorous encounters and either the city or the countryside, on the beach or the mountains, a very important part of their success are a willingness to experiment and art, that runs throughout his work (always risky and that's always exciting) but it is kind of the most obvious way in his historical films, especially Perceval le Gallois, but in The Marquise of O, The Lady and the Duke, or The Romance of Astrea and Celadon, the last of his works, which can be viewed as a testament and a compendium of all issues and wills of his films, as I said in the text about the film I wrote for Shangri-La few years ago. Rohmer
poet of youth and desire.
We could go on for hours mingling Rohmer, their references of all kinds of painting, literature, music or films that influenced him both on the classics Americans, on Renoir and Rossellini on space and time, how he learned from Murnau to be as geometrically perfect and so relentlessly about his uncompromising way of making movies on his uncompromising on that detail that fascinates us about your women, the chirp of birds that breaks at the right time, about your use of the word, perhaps his most characteristic and what is the true master of cinema with, probably, Manoel de Oliveira. And we could talk about his achievements, his legacy, the filmmakers who have admired and followed, the tributes of Linklater before dawn or dusk, Hong Sang Soo, how far reaching Rohmer pointer from Hollywood to China or Korea, via Spain, by France, of course, and anywhere in the world. We could talk about beauty and freedom.
Rohmer is gone but, as is always said, we still return to their movies anytime, whether conscious desire or by necessity (emotional or physiological), and we still dream at night with a knee Clara climb a ladder or with a light on the horizon that even without necessarily captured. We still dream of Amanda Langlet or Marie Rivière, we still believe that fate can bring back a bus ride that took us one day without asking. We are left with Pascal and we are nights of the full moon flooded the heat this time we do not need to understand a work of art, but she understands them to us.
also leave a very interesting interview with Eric Rohmer for the premiere of The Lady and the Duke, posted on the blog of Francisco Algarin, Much I've been going to bed early time .
Because if something linked to the directors of the Nouvelle Vague is to understand cinema as means of life, and live life as you live the movies. Therefore, to Rohmer film was an art of arts and, therefore, the film was the life and reflected a path of discovery of what is usually hidden from us routine. Yes, life plays hide and seek, and art in your search, go through the forest finding clothes that give hint of what we are and what we will. This was the Rohmer film, obsessed with the pursuit of beauty and magic occult everyday life, obsessed with delving into the interstices, in those places ambiguous, between the heart and desire, between the brain and conjecture, not really know where or to whom they belong. Rohmer is the magic of the infinitesimal variations, combinations, chance, purity.
few hours ago that Eric Rohmer has left us, and what I feel is to see that this can not be extended shelter library staff involved in their films.
There is something amazing in the work of Eric Rohmer, and it is his ability to play different levels, ie can empathize with their very different films from optical, either through an analytical, purely intellectual, either through a formal and Cartesian view, like him, attentive to time and space, how to tell and to show, that purity of essence achieved by stripping it sometimes seems extinct in a world saturated with rhetoric, either through its multicultural game, aware of the pictorial references, historical or literary, either through the idea of \u200b\u200bcinema as shelter of their own lives, as a mirror and therapist, or whether through connecting with their characters, sometimes shy and sometimes arrogant, sometimes mournful, sad or vitalistic, religions and intellectuals generally, but in the end always fragile, unstable, weak and flawed, like all human beings, hanging by a thread that often try to hide. Rohmer gets to the essence of human being, and therefore is able to reflect all, reflect all through characters with a very limited range of features. Never mind, never mind: It's known that you can make it to all from the most local, the most concrete. But back to the level of understanding rohmeriana, movies created addicts, especially those who are constantly looking for beauty around you, beautiful images and sounds, beautiful ideas and emotion, beauty that finally emerges from abstraction, and fans will see them in that quest Epicurean (rather than the realization itself) a source of vitality and survival. Rohmer
mathematician. Rohmer the perfect geometry. Rohmer struggle putting the privacy and sensitivity of the emotions suggested in the coolness of a mind that sometimes persists in hermetically isolate the world of ideas in the world of emotion.
religiosity, Catholicism, has marked the work rohmeriana from the beginning, as you can see the nuances implicit in Dostoevsky's The Sign of Leo and as a statement or early in their final My Night at Maud's. But more than that, and this is what humanizes him and makes him one of the greats, Rohmer's films are marked by constant doubt, that doubt did not know whether or not to lie Maud, whether it is worthwhile to expand the collection of female conquests as it expands a set of butterflies, if women pursue leads flyer somewhere, or is justifiable only for the mere pleasure of watching and looking, if chance is a cause or a consequence, if the illusion to see the green flash can change the way you view life, if the cider, crepes and summer can be summarized a way of feeling, if you can make a matchmaker in the middle of fall season, or if the political intrigues in the middle worth of human relationships, whether in full French Revolution or the English Civil War.
Rohmer with his long shots and endless dialogue.
A challenge: to deal in depth without being moralistic morality, drawing a look equidistande between responsibility and desire, between duty and what makes life worth living. Ambiguity is often steeped in grandeur, and the lack of answers is often the best questions, even when irony is established as the only possible salvation. Like Rohmer's irony is vision and beauty, and not taken too seriously himself or to others divests his films what a load of gravity that makes them irresistible to the perfect pair.
If Truffaut was the lover of love Rohmer was the watchers, the student of sentimental love, erotic, playful and sentimental in all its variations, combinations and possibilities. As a non Perec liked to beat around the bush.
But we must not forget that not everything at Rohmer are amorous encounters and either the city or the countryside, on the beach or the mountains, a very important part of their success are a willingness to experiment and art, that runs throughout his work (always risky and that's always exciting) but it is kind of the most obvious way in his historical films, especially Perceval le Gallois, but in The Marquise of O, The Lady and the Duke, or The Romance of Astrea and Celadon, the last of his works, which can be viewed as a testament and a compendium of all issues and wills of his films, as I said in the text about the film I wrote for Shangri-La few years ago. Rohmer
poet of youth and desire.
We could go on for hours mingling Rohmer, their references of all kinds of painting, literature, music or films that influenced him both on the classics Americans, on Renoir and Rossellini on space and time, how he learned from Murnau to be as geometrically perfect and so relentlessly about his uncompromising way of making movies on his uncompromising on that detail that fascinates us about your women, the chirp of birds that breaks at the right time, about your use of the word, perhaps his most characteristic and what is the true master of cinema with, probably, Manoel de Oliveira. And we could talk about his achievements, his legacy, the filmmakers who have admired and followed, the tributes of Linklater before dawn or dusk, Hong Sang Soo, how far reaching Rohmer pointer from Hollywood to China or Korea, via Spain, by France, of course, and anywhere in the world. We could talk about beauty and freedom.
Rohmer is gone but, as is always said, we still return to their movies anytime, whether conscious desire or by necessity (emotional or physiological), and we still dream at night with a knee Clara climb a ladder or with a light on the horizon that even without necessarily captured. We still dream of Amanda Langlet or Marie Rivière, we still believe that fate can bring back a bus ride that took us one day without asking. We are left with Pascal and we are nights of the full moon flooded the heat this time we do not need to understand a work of art, but she understands them to us.
also leave a very interesting interview with Eric Rohmer for the premiere of The Lady and the Duke, posted on the blog of Francisco Algarin, Much I've been going to bed early time .
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