1905 Film Network News this year marks the 100th birthday of French film master Roma, and the Beijing Film Festival of the Beijing Film Festival also sincerely planned the "Rou Mai’s Covenant" unit, leading everyone to review the creative career of this New Wave flag bearer.
As the successor to Bazin, Rohmer has been the editor-in-chief of the "Cinema Manual" since 1958. At the same time, Godard, Truffaut, Chabrol, Rivet and others have successively launched their own directorial first works. He became well-known in the film and television circles. It was not until 1962 that Rohmer made a film of "Leo Constellation". In 1969, "A Night at Mude’s House" finally made him famous internationally and nominated for the Academy Award. The series has gained more attention. Since then, Rohmer has launched two series of "Comedy and Proverbs" and "Four Seasons Story". It has almost maintained the filming speed of two films in three years, and because he often cooperates with the same team, there are also the "Rome Class" series. Yahao. With his keen observation of the details of life and his unique film language, Rohmer has left an important stroke in the history of film and influenced film masters such as Wong Kar Wai.
last year's "Beijing Screening" "New Wave Echo" unit, there are two masterpieces of Hou Mai's "Leo Constellation" and "Baolian on the Beach". This time the "Rohmer’s Covenant" unit selected six classic works by Rohmer, four of which are from the "Moral Stories" series, namely "Female Collector", "A Night at Mude House", "Claire's Knee" and " Love in the Afternoon; one is the particularly famous "Green Light" in the "Comedy and Proverbs" series, and a "highlighted movie" "Shuangshu Romance". does not seem to have such a balanced selection, in fact, you can see the hidden meaning. To a certain extent, the so-called "Hou Mai Group" did not seem to have been formed until "A Night at the Mude Family", of course, this is from the perspective of actors. This is why, the main actors of "The Female Collector" and "One Night at Mude House" have not appeared in Rohmer's movies again...
However, it may be too arbitrary to say that they did not appear. In the summary of the "moral story" In "Afternoon Love", the previous female protagonists have reappeared. For example, the two girls in "Claire's Knee", Claire's actor Lawrence Monaghan, and Laura's actor Beatrice Romand, There are also Laura’s mother, Aurora, played by Aurora Conu, Mude (Francis Fabien) in "A Night at Mude’s House" and the last actor Jean-Louis did not go back with Mude. Francois (Mary-Christine Ballot) who was looking for also appeared.
In fact, Rohmer, who once did Hitchcock research (wrote the first Hitchcock monograph in France with Chabrol), is regarded as a "moral story" to practice the results of their research: a balancing power The triangle of learning, and when the characters are entangled in the two corners, a dramatic tension is generated, and often at the end, the characters still choose the original goal. So even if Jean-Louis chatted with Mude for one night, he finally returned to Françoise; Jerome (we know that this name is known for being learned in the Bible, Saint Jerome) After finally hitting Claire’s knee as he wished, he still had to go back and get married; Frederick, who escaped, became angry, but finallyAfter all, he returned to his wife and children.
However, "Afternoon Love" has thus started another journey: According to reports, the heroine of "Green Light" Mary Riviere wrote a letter to Rohmer after watching "Afternoon Love", expressing her respect. Since then, from the small role of "Parsifal" to the key role of "Catherine of Humble City", and even the heroine of "Pilot's Wife" (although the role is still played by the charming female student Anne-Laure Mo In this way, Marie Rivier ascended to the throne of the queen of the Rohmer group. is indispensable to Mary Rivier, who left an impressive performance in the film and became a representative icon; "Green Light" is like a thank you gift from Rohmer, this film It can almost be said that Mary participated in the creation. She performed in her true colors, dedicated herself to the film, and brought her family along. However, this is also an excellent example of Rohmer's "method acting".
As everyone knows, Rohmer often invites heroines to perform and chat for one or two hours a day. Rohmer records the various preferences, behaviors, and personality of the former woman, and finally uses this information to weave a special The script tailored for this woman can be said to be in the form of a "semi-documentary". For this reason, the "Green Light" left to Mary for a large number of improvisations can be said to be a culmination of this method. Therefore, it is reasonable to become Rohmer's most famous work.
Because of this "method" performance, the same actor naturally has her very distinctive role image. For example, Mary Rivier seems to always play an indecisive role. However, there is another actress who is often indecisive, and that is Beatrice Romand, who played Laura in "Claire's Knee" and started a 30-year partnership with Rohmer. She became a member of the "Rohmer Group" earlier than Mary, and can even be said to be the first actress to appear in Rohmer's works normally. However, Mary’s indecision often has a strong elegance. She is the kind of indecision who is naturally beautiful, so she is pretty indecisive. This is typical in "Aviator's Wife", but in "Green Light", after she has grown a few years old However, this kind of thousands of choices has become the reason for her loneliness; as for Beatrice, she is the kind of indecision who is not very confident about herself. This first appeared in "Claire's Knee" and in "Good Marriage" More obviously, it finally reached the extreme in "Autumn Story". This is also because Rohmer always let her with fluffy brown curly hair play with a blonde beauty, such as Claire, Clarice (Ariel Dobassler, she always plays a femme-like beauty in Rohmer’s works Role), and Mary. Rohmer probably also saw that in "Green Light", Beatrice played a guest role as a friend of Mary. The sparks sparked by the dialogue between the two make people feel that the interaction between old friends is really only possible, and how natural it is: Beatrice used the agitation method to stimulate Mary and encouraged Mary to courageously, but after this ten minutes of conversation, the strong Mary went to the side and cried. Later, Beatrice and Mary both appeared in "Shuangshuo Romance".
It is often said that Rohmer’s “series” can be divided into large series and small series. This "Shuangshuo" or "Rate of Paris" in 1995 are the most typical examples. Both films can be said to be through short films. (The former four paragraphs and the latter three paragraphs) form the title as a small series under the title; the difference is that "Shuangshuoqiyuan" is a series of pure Renette and multi-argued Mirabe, while "People "About Paris" is a collection of three completely different short films. In short, Beatrice and Mary each appear in one of the episodes of "Shuangshu Romance". Beatrice's role is relatively inconspicuous. She has been eyeing a female thief early on in the store, and finally is Working with colleagues to catch the thief; and Mary’s role is more interesting, which can be said to subvert her usual elegant demeanor: she asked for the ticket money from several well-meaning passengers at the station under the pretext of having no change to buy a ticket. When Nete saw through, she used a bitter trick (crying) to win sympathy, and she succeeded! is like a joke made by Rohmer to the audience.
However, although this "character-like" collaboration with actresses later made Rohmer appear to be among the "directors who are most capable of photographing women", however, "The Female Collector" is one A way of reflexively referring to the implicit author (that is, Rohmer himself), through the film thought to have taken advantage, but in fact, Heidi (Hatti Politoff, of course, she also appeared in the "Afternoon" On the corner of Love), the calculating men drew out the overall image of "men cannot touch women." This may reveal Rohmer's inner monologue.
Maybe because of this, Beatrice and Mary will appear in Rohmer’s works repeatedly, even if they are just a silly trick; but it is undoubtedly found that even with two or three works, they can’t explain one. Woman, this may be Rohmer’s circuitous confession: "I don’t understand women!"
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