Rohmer is confident in his handful of characters so much, that he’d rather focus on the environment- if not on them- than investing on other distractions.
Rohmer is.. just perfect. I couldn’t come up with any other adjective to describe him and his film. The writer and director, Eric Rohmer, is whispering something pure than you cannot anticipate. After the electric shock that the film zinged me with, I have never, then, tried to know about the film before jumping in. Just discovering the absurdity and the genuinity of the storytelling as it unfolds in front of your eyes, is half the fun. Take the word and jump for it, no matter of what genre you think you belong to, there is every single type of appetiser for you. And the one that catches you off guard the most is the horror aspect of the storytelling.
Similar to James Ivory’s picturization- I got the recommendation itself like that, it is a sort of film that Ivory would invest on- the film is easy to look at. With stunning live location coming alive on the screen and the fresh air blown in your face, the film stays breezy, even though derailing aplenty, grabbing other genre coins, in this big beautiful marathon. And a script that often looks like a part of some play, the philosophical conversations, if goes of preaching-to-the-choir tone, it is definitely intended.
That deliberate amateurish-ness and finiteness of each character’s views, is what draws me. Never for a second, Rohmer wishes the film to grows beyond a film. The profound theories that they blab about is overpowered with a towering mesmerising method of his. Another smart trick he invests on, is placing the cameras in a specific place while projecting one definite location. This repetitive nature in his camera work allows us to feel like our home town. The roads, the balcony, the room and the house, we do get to spend a summer vacation in there along with Pauline At The Beach.