"I the idea of \u200b\u200bThe Green Ray on October 83 and rolled in the summer of '84. Its genesis only lasted, therefore, one year, while other films have been able to last up to twenty. I held an interview with Marie Rivière, recorded with a tape recorder in December 83. It's a film for which I have not written anything. The stimulus came from something I had read a letter from the heart. One woman said she was beautiful, but men are not watched, but did his best to provoke. That situation seemed tragic and funny at the same time. Then, in Biarritz, I became aware of the anonymity of the crowd and I was struck by the amount single women. (...) I could say that this is the most autobiographical of my films. Everyone has experienced loneliness. It is easier to make something of yourself in a movie which will be hidden (I like to be concealed). As is well known that identification may not occur, it is less embarrassing. So somehow, you could say Delphine me ... "
Éric Rohmer, the newspaper Libération in 1986
N or hard to find the figure of Jean-Marie Maurice Scherer, better known by his pen name as Éric Rohmer -adopted one of his many cinematic idols, Erich Von Stroheim, and writer Sax Rohmer, "ubiquitous as good author in almost all movies, all the stories and tales of his films carefully. From its origins more prosaic with "Moral Tales," his light "Comedies and Proverbs" to the sensational "Tales of the Four Seasons, with their essential individual experiments of a historical painting that complete the work of a single filmmaker.
When Time Rohmer address the well-deserved tribute to the Film Library dedicates this Month-to little more than a year after his disappearance on January 11, 2010 - the search for a solitary reference to a single projection as a description of a very personal films, it seems difficult and even pretentious. Of the three recognized stages of Rohmer, arranged as a series of stories, "Moral Tales," "Comedies and Proverbs" and "Tales of the Four Seasons, and the rest individual buildings highlighted as The Sign of Leo (Le Signe du Lion, 1959) , Perceval, the Welsh (Perceval, he Gallois, 1978) , or his latest film The Romance of Astrea and Celadon (Les Amours d'Astrée et de Céladon, 2007) , no encontramos de manera objetiva un referente claro como balance de una carrera tan particular como de difícil clasificación. Teniendo en cuenta a Alfred Hitchcock, invitado especial a este homenaje dedicado a la memoria de Rohmer y Chabrol, y tras revisitar la excelente labor crítica de un joven y apasionado Rohmer alrededor de su admirado maestro, no encontramos, a diferencia de Chabrol, rastros formales del maestro del suspense en la obra de Rohmer. Más allá de la estructura narrativa casual, de las contradicciones de sus vínculos morales y católicos, y de algunos tardíos homenajes puntuales, tal vez, la máscara de Hitchcock se esconde tras el referente velo intelectual French filmmaker ... Who knows.
Posters
With this, the figure of Rohmer as a defender of copyright policy is more than evident, and the honesty of the French, latent in every one of his plans for his extensive filmography.
Rohmer, possibly one of the filmmakers have been more noble than the history of cinema, spectator passionate, introverted and essential filmmaker.
And, if the filmmaker Eric Rohmer, Maurice Scherer is his filmography. The temptation of duality in the moralistic sense Scherer cultivated, found expression in the young cinema of the new French wave, in his defense of auteur cinema as a means descriptive. But Rohmer's film is not so complicated, quite the contrary. Throughout his films can be seen a progressive trend towards the essential, to the formal austerity film whose value only becomes a tone every time simpler, more sensitive and thus, paradoxically, more poetic. I mean, paradoxically, because curiously Rohmer always rejected in early visual rhetoric, lyric ornamental, defending at all costs the use of film as a mere tool of communication with the viewer, as mere means. These theories inherited from the cinema of Robert Bresson, the father's formal new wave, however, were based on the theories of other idols of the young critic, Roberto Rossellini, above all, from its partial rupture neorealist with Stromboli (Stromboli, Terra di Dio, 1950) . Through Rossellini, and especially also of Jean Renoir, Rohmer discovers that his search for the essence on screen inexorably to portray the beauty as the only route of absorption for the viewer of an art images as the cinematographer.
Therefore, we can say that Rohmer's films is inherited from the critical gaze of passionate youth, with the teacher founder of Cahiers du Cinema , André Bazin the head rebel contemporary and innovative with his generation of French New Wave, Godard to Rivette, of austerity and dramatic rhetoric raised by the cinema of Robert Bresson, from a Socratic style and modern as the cinema of Rossellini Postwar, pictorial simplicity, cheerful as Jean Renoir, a subtle eroticism as he admired icons of French literature, dynamic composition and his admired Hitchcock, author Stroheim and Welles total to head youth, deep, intellectual and essential as Rohmer himself, whose unique and unclassifiable style invites us to revisit her work again and again.
It is, therefore, the set of all French moviemaker great, the best recommendation to meet the author, Eric Rohmer and man, Maurice Scherer, joined by a thin medium: the so-called cinema.
However, The Green Ray (Le Rayon Vert) , finally released in 1986, seems to finally be the most autobiographical work of his films in the medium term, supported by French filmmaker himself shortly after his release, saying the main character, Delphine, was himself.
Therefore, we have chosen among many works in Rohmer esnciales, The Green Ray as our special tribute to the filmmaker and the man, Rohmer and Scherer.
At first glance, The Green Ray, junior and fifth episode of the series of "Comedies and Proverbs" , is a film very different from other films by Rohmer until now, at least in its finish. Shot with a semi-documentary style, The Green Ray, shows how Rohmer any theories on the cinema as a means of communication to the viewer, whose message is the goal, not the ornate object as characteristic of the other productions of time. However, is known to work on simple, is very complicated. The light and carefree style of the film, is the key to historical recognition of a successful Ribbon eternally young, whose protagonist, Delphine (Marie Rivière), arguably the best character portrayed on screen by Rohmer, and that is saying a lot.
La Soledad, true protagonist of "The Green Ray", perfectly portrayed its protagonist, Delphine.
Éric Rohmer's style has raised many passions and detractors, it is a simple matter of choice for film use. However, with its series of "Comedies and Proverbs", and particularly The Green Ray, Rohmer gets closer to everyone. Maybe it's their remarkable relaxation intellectual in tone color and erotic themes for his youth or the entire set of circumstances that has managed to identify as many viewers with its portrayal of romantic relationships, contradictions and hopes of the protagonists. All this in light tragicomedy key that is ahead of many filmmakers who owe much to the French genius. Among them, for example, Woody Allen, who in his usual light comedies drink directly from the cinema screen in the 80's made by Rohmer, when Allen was on a film even more baroque than the late 90's or 2000's. No wonder then, that is denominated in many fields to Rohmer as "Woody Allen French. " However, it might be more accurate to call Woody Allen as "American Rohmer."
A key from the formal, documentary and carefree sense of filmic process from its conception to its release, Rohmer, get thousands of people have identified themselves with some of the features outlined on the character of Delphine. As stated in the initial appointment Rohmer after the premiere, to The Green Ray did not write anything, which is easily deduced, and was shot in a few weeks in the summer of 1984, easy, light, perfect. Is there a better way to ride the emotional distraction and causation? Rohmer's experience and his quest, quiet, essentially through his gaze film industry had its best summer in this particular experiment was 84, about to escape the typecasting of the French author feared by critics and audiences, because intellectual heaviness of his previous work.
But make no mistake, with The Green Ray, Rohmer was perfectly imperfect as life itself. Rohmer understood in cinema, progressive and, apparently, more correctly, that the only way to portray a casual mood, was through the intangible, light, imperfect. But, conversely, Rohmer was a perfectionist, this can be quite paradoxical after watching a movie like "The Green Ray" , the simple fact of its release in August 1986, two years since the filming of the story in the summer of 84, speaks much in favor of perfectionist Rohmer, in their own way, of course.
This delay was due to complications of filming the natural phenomenon of "green ray" difficult to capture, a phenomenon that haunted symbolically as contradictory character, deep and simple at the same time, as was Eric Rohmer.
Frame the moment visible green beam, natural phenomenon finally shot in Las Palmas de Gran Canaria
This natural phenomenon, the "green ray" weather occurs in very specific circumstances. Product is the optical effect of refraction and dispersion of sunlight when it is near the horizon.
The idea of \u200b\u200bthe film is the version of Jules Verne on the mystical legend in his book titled:
"If you see the green flash, you will be able to understand your own feelings and those of others."Delphine In the film uncovers some letters in his way, symbols of fate and chance, one of the issues that most haunted Rohmer. All this has its peak with the description of natural phenomena and contemplation in the last scene of the film, practically in the plane.
The filming of this scene took, therefore, notably the film's release until August 1986. Finally, after several attempts on the shores of Normandy, among other places, get to film the phenomenon, with his last burst of the Setting Sun in Las Palmas de Gran Canaria at Christmas 1985.
With a peculiar light on key semi-documentary style, in this scene Delphine explain the curious presence Casual natural phenomenon of the "green ray"
As data, saying that its world premiere was August 29, 1986 in the United States, and a couple of days later in Venice Film Festival, where it won the top prize, the Golden Lion .
"Everyone has experienced loneliness."Rohmer With these words had the true star of The Green Ray, the loneliness. To describe this state used a curious exchange of contrasts between light comedy and existentialism deeper. Curiously, the bulk of the films of Rohmer, The Green Ray silences contains more descriptive of a protagonist, the dialogues are peculiarly banal, only accelerated impulsively, on time and without intellectual intentions, however, contains much documentary portrait, sociological and moralist. The decisions or indecision of Delphine, her hobbies and weaknesses unleash an entire interrogation side on the moods of the sentimental hero, and through these questions, Rohmer gets identified with the viewer and the latter with a sense of isolation Delphine social incomprehension.
The romantic and enigmatic Delphine superbly played by Marie Rivière
Delphine is a sad girl, but she feels sad and abandoned to their fate. Delphine no partner but assumes no neglect. Delphine is not antisocial, but does not feel the comfort of his generation. Delphine is happy but not easy. Delphine is sentimental, feel attractive, young and mature time, but it is also somewhat immature, is undecided, it's nostalgic, idealistic, dreamy and mystical ... Delphine is demanding, is a vegetarian and a bit stubborn ... Delphine discovers cryptic letters in the streets believe in astrology, fate and destiny ... Delphine is pure energy ... but Delphine Delphine is lonely ... it feels different ...
success The Green Ray and its growing popularity even today, shows that Delphine is no different.
Promotional trailer of "The Green Ray" in Original Version
Rohmer perfectly captures the emotional stagnation, isolation, the need to love and loneliness Delphine , a character so unique and universal.
Delphine is not only Éric Rohmer, Delphine are many. Javier Ballesteros
0 comments:
Post a Comment