This is all to say: among a certain set of downtown types, Rohmer guys are not particularly rare. I should stipulate: a Rohmer guy does not have to have even seen an Eric Rohmer movie. Rohmer guys can also take their inspiration from a myriad of other flicks that appear to revolve around going on a super-long vacation. Call Me By Your Name is a Rohmer guy movie, because most of it is about going swimming and eating fruit en plein air.
The new Gucci biopic, although unreleased, appears to have Rohmer guy vibes, just by the look of Adam Driver in his big glasses taking vacation pics with Lady Gaga.
The Rohmer guy lifestyle also extends to other facets of culture. Died: January 11 , age 89 in Paris, France. Filmography by Job Trailers and Videos. Hollywood Icons, Then and Now. Share this page:. Around The Web Provided by Taboola. Projects In Development Claire. Details only on IMDbPro ». Create a list ». Favourite directors.
My Favourite Filmmakers. See all related lists ». Do you have a demo reel? Add it to your IMDb page. Rohmer himself, throughout his career and even throughout his life, remained elusive by design, starting with his name. His motives were personal—his mother was led to believe that Maurice was a teacher, and she died in unaware that he did anything else.
When it did, Rohmer became the proprietor of a small but thriving business, and his working life was vigorous—he made twenty-two features between and The action meanders but seems held together with a relentlessly unifying purity of cinematic style and idealistic intentions. But, long before the release of his first feature, Rohmer had brought about a revolution in the name of others—because Rohmer, as critic, editor, and friend, through his writings, activities, and personal influence, was the father of the French New Wave.
In his youth, he had little interest in movies at all, but he was a gifted student and was good at philosophy, literature, drawing, music, and theatre. He planned an academic career and passed written exams but because of overwhelming shyness failed oral ones, relegating him to minor teaching posts. Within months, de Baecque and Herpe note, he began to write highly theoretical articles about film, and Astruc helped to get them published.
The underlying principle was that directors are artists whose unifying vision reveals their own distinctive and personal worldview by making it appear as a thing emerging on its own in the world around them.
He published the novel Elisabeth under the nom de plume Gilles Cordier, while his cinematic pseudonym was inspired by Erich von Stroheim and pulp novelist Sax Rohmer. Although never a recluse, he insisted he kept a low profile so he could shoot quickly and cheaply on location. However, he attended the New York premiere of one of his films wearing a fake moustache and his bourgeois, Catholic mother, Mathilde, supposedly died without ever knowing that her son was a famous film director.
Championing F. Murnau , Jean Renoir and Robert Bresson , Rohmer was more rhetorical in style than his younger, iconoclastic colleagues and became their editor in Le Signe du lion Indeed, he was more at home making small-screen studies of his favourite authors and filmmakers until when he finally found his feature niche.
Rohmer is renowned for the three film series he produced between and Claire's Knee A Summer's Tale The Romance of Astrea and Celadon Ironically, Rohmer proved more experimental in handling these period pictures and he made audacious use of digitised scenery in recreating the revolutionary era in The Lady and the Duke , which he followed with the simmering inter-war espionage saga, Triple Agent Despite the casual naturalism and delicious sense of ambiguity, nothing was ever arbitrary in a Rohmer film.
He put his often non-professional players through extensive rehearsals and amended the script as new ideas arose. On location, he preferred to shoot in sequence, according to the state of the weather and the time of day, and worked quickly two or three takes with a small crew.
My Girlfriend's Boyfriend As he prioritised thoughts over actions, Rohmer restricted camera movements and close-ups. But the focus invariably fell on the sensation of being alive rather than melodramatic contrivance. Consequently, emotionally vulnerable individuals are required to make momentous decisions about love affairs, careers and vacations and they fret, make mistakes, regret and reach conclusions, as desire collides with reality, morality, caprice and common sense.
In other words, Rohmer made films about human beings not movie characters. Perceval le Gallois 9. Pauline at the Beach 7.
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