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Eric Rohmer |
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Director / Screenwriter |
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1920 - 2010 |
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Born April 4,
Nancy, Meurthe-et-Moselle, Lorraine, France |
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Key
Production Country: France |
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Key Genres:
Comedy of Manners, Comedy Drama, Drama, Romantic Drama,
Romance, Romantic Comedy, Period Film, Urban Comedy, Psychological Drama,
Comedy, Short Film |
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Key
Collaborators: Margaret
Menegoz (Producer), Cecile Decugis (Editor), Mary Stephen (Editor), Francoise Etchegaray (Producer), Nestor Almendros
(Cinematographer), Diane Baratier (Cinematographer),
Barbet
Schroeder (Producer), Marie Riviere (Leading Character Player),
Rosette (Leading Character Player), Jean-Louis Valero (Composer) |
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Highly
Recommended: Chloe
in the Afternoon (1972), The Green Ray (1986)*, Boyfriends and Girlfriends (1987), An Autumn Tale (1998) |
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Recommended:
The Sign of Leo (1959), Suzanne's Career
(1963), La Collectionneuse
(1966)*, My Night at Maud's (1969)*, Claire's Knee (1970)*, The Marquise of
O (1976)*, The Aviator's
Wife (1981), Pauline at the
Beach (1983), Full Moon in Paris (1984), A Summer's Tale (1996) |
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Worth a Look: Présentation ou Charlotte et son steak
(1951), La Boulangere de Monceau (1963), Nadja à Paris (1964), Perceval
(1978), Le Beau mariage (1982), A Tale of Springtime (1989), A Winter's
Tale (1992), The Tree, the Mayor and the Mediatheque (1993), Rendez-vous
in Paris (1995), The Lady & the Duke (2001) |
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Approach with Caution: Triple Agent (2003), The Romance of Astrea and Celadon (2006) |
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* Listed in TSPDT's
1,000 Greatest Films
section. |
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Links: [
Amazon
] [
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 ] [
CineScene Article (2010)
] [
Senses of Cinema Article (2010)
] |
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Books:
[
The
Taste for Beauty ] [
Eric Rohmer (French Film Directors) ] [
Eric Rohmer: Realist and Moralist ] [
Film as Theology: Eric Rohmer ] |
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"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)
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"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) |
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"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) |
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"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) |
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Please
note that the rating given for this director (see top-right) is based
only on the films we have seen (listed above). Films by this director that we
haven't seen include
Four Adventures
of Reinette and Mirabelle (1986). |
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9- |
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"Eric
Rohmer... was one of the founding figures of the French New
Wave and the director of more than 50 films, including the
Oscar-nominated My Night at Maud’s... In opposition
both to the intensely personal, confessional tone of much of
the work of
Truffaut and to the
politically provocative films of
Godard, Mr. Rohmer remained
true to a restrained, rationalist aesthetic, close to the
principles of the 18th-century thinkers whose words he
frequently cited in his movies. And yet Mr. Rohmer’s work
was warmed by an undercurrent of romanticism and erotic
yearning, made perhaps all the more affecting for never
quite breaking through the surface of his elegant, orderly
films."
-
Dave Kehr, The New York Times |
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●
Top 250 Directors |
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100 Essential Directors (Pop
Matters) |
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●
Robin Buss' Top 10 Directors |
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●
501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
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See Also |
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Eric Rohmer's Favourites |
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General (1926)
Buster Keaton &
Clyde Bruckman,
Ivan the Terrible Parts 1 & 2 (1944/1946)
Sergei Eisenstein,
Pickpocket (1959)
Robert Bresson,
La Pyramide humaine (1961)
Jean Rouch,
Red River (1948)
Howard Hawks,
The Rules of the Game (1939)
Jean Renoir
, Sunrise (1927)
F.W. Murnau,
True Heart Susie (1919)
D.W. Griffith,
Vertigo (1958)
Alfred Hitchcock,
Voyage in Italy (1953)
Roberto Rossellini.
Source:
Sight & Sound
(1962) |
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