One of the most durable of the French New Wavers, Eric Rohmer, returns after a too-long absence with another gently wry tale of the tug-of-war between the heart and the head that will enrapture his admirers and confound his detractors.
The typically Rohmer-esque wisp of a plot revolves around a Paris philosophy teacher, Jeanne (Teyssedre), who can't live in her boyfriend's apartment while he's away because she detests his disorderliness. Meeting a classical pianist, Natasha (Darel), at a party, Jeanne airs her dilemma, and
Natasha immediately offers lodging in her own Paris home. The two roommates become good friends, though Jeanne soon finds herself in the middle of Natasha's plot to break up the relationship between her divorced father, Igor (Quester), and a brittle, blond academic, Eve (Bennett).
Rohmer remains one of a fast-dwindling number of world-class directors whose works can restore one's faith in life and the cinema. As they typically consist of little more than characters talking, Rohmer's films provide a viewing experience for some akin to watching paint dry. But, for patient
viewers, few contemporary filmmakers can bring more to their canvas than Rohmer. Like a painter obsessed with one vista, Rohmer has essentially been making the same film over and over again. It is typically about love, usually lost in the distance between thought and action--thus the talk. Most of
Rohmer's films reside in those moments of hesitation when we are most human. For those willing to meet them half-way, his explorations of the heart's agenda are anything but boring. Two especially magical moments in TALE OF SPRINGTIME are the philosophy discussion over dinner and the unexpected
discovery of a missing necklace.
Unpredictable yet predestined, passionate yet meticulously reasoned, crammed with dry talk yet achingly erotic in the pauses in between, Rohmer's films are finally as enigmatic as they are seemingly plain and offhanded. For more than three decades, Rohmer has lovingly taken his camera where few
others have dared tread. And he has done it, by and large, without roaming very far from the rooms in his people's lives, which are, like the rooms in our souls, cluttered, dusty and comfortably familiar, yet always tantalizingly alive with the possibilities for discovery, surprise and
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- Released: 1990
- Rating: PG
- Review: One of the most durable of the French New Wavers, Eric Rohmer, returns after a too-long absence with another gently wry tale of the tug-of-war between the heart and the head that will enrapture his admirers and confound his detractors. The typically Rohme… (more)