TSPDT - Eric Rohmer

Eric Rohmer

Top 200 Directors

Robin Buss' Top 10 Directors

►501 Movie Directors: A Comprehensive Guide to the Greatest Filmmakers

See Also

Chantal Akerman

Denys Arcand

Ingmar Bergman

Claude Chabrol

Jean-Luc Godard

Louis Malle

Jacques Rivette

Maurice Pialat

Jean Renoir

Jean Rouch

Whit Stillman

François Truffaut

Director / Screenwriter / Editor

1920 - 2010

Born April 4, Nancy, Meurthe-et-Moselle, Lorraine, France

Key Production Country: France

Key Genres: Comedy of Manners, Comedy Drama, Drama, Romantic Drama, Romantic Comedy, Romance, Period Film, Urban Comedy, Psychological Drama

Key Collaborators: Margaret Menegoz (Producer), Cecile Decugis (Editor), Nestor Almendros (Cinematographer), Barbet Schroeder (Producer), Marie Riviere (Leading Character Player), Mary Stephen (Editor), Francoise Etchegaray (Producer), Fabrice Luchini (Leading Character Player), Beatrice Romand (Leading Character Player), Diane Baratier (Cinematographer)

Highly Recommended: Chloe in the Afternoon (1972), The Green Ray (1986), Boyfriends and Girlfriends (1987), An Autumn Tale (1998)

Recommended: The Sign of Leo (1959), La Collectionneuse (1966), My Night at Maud's (1969), Claire's Knee (1971), The Aviator's Wife (1981), Pauline at the Beach (1983), Full Moon in Paris (1984), A Summer's Tale (1996)

Links: [ IMDB ] [ TCMDB ] [ All-Movie Guide ] [ Senses of Cinema: Great Directors ] [ Film Reference ] [ Eric Rohmer: A Highly Unofficial Page ] [ Wikipedia ] [ Time Out Obituary (Geoff Andrew) ] [ Boston Review Article (1999) ] [ Films de France ] [ Strictly Film School ]

Books: [ The Taste for Beauty ] [ Eric Rohmer (French Film Directors) ] [ Eric Rohmer: Realist and Moralist ] [ Film as Theology: Eric Rohmer ]

DVD's: [ Amazon ]

1,000 Greatest Films: The Sign of Leo (1959), La Collectionneuse (1966), My Night at Maud's (1969), Claire's Knee (1971), Chloe in the Afternoon (1972), The Marquise of O (1976), The Green Ray (1986)


	"All the literary content is peripheral to Rohmer's eye. It is in the quality of his imagery that we feel the intellectual appeal of experience. The camera style is classically simple, but Rohmer adores the effects of natural light, whether the reflections from snow in Maud, the rainy day in Claire, or the Côte d'Azur interiors in La Collectionneuse." - David Thomson (The New Biographical Dictionary of Film, 2002)

	"Emerging from the crucible of the French New Wave, Rohmer has forged a style that combines the best qualities of Bresson and Renoir with distinctive traits of the Hollywood masters. And though he was never as flamboyant as Godard or Truffaut, Rohmer's appeal has proved much hardier." - Dennis Nastav (International Dictionary of Films and Filmmakers, 1991)

	"In their own world, Rohmer's films are guaranteed to run and run. This may be because, although they are more or less conversation pieces, they are also cleverly constructed (he always writes his own screenplays) in such a way as to keep an audience's interest alive until matters dovetail at the end, by which time most of Rohmer's characters know more about themselves than when the film began." - David Quinlan (Quinlan's Film Directors, 1999)

	"An important figure in the French new wave, Rohmer is known primarily for his "moral tales," which leisurely speak of men and women, and the things they do to each other." - William R. Meyer (The Film Buff's Catalog, 1978)