Year: 1969
and
Movie: Claire's Knee
Year: 1970
I had some free time last night so I made it a double feature. How do you like them apples, Gene Hackman? Two Rohmer films in one night? Actually, the count is three in two days because I watched the amazing "My Night at Maud's" twice. A nice surprise from Netflix too. After being told it would be a "long wait" for "My Night" to arrive, it instead showed up promptly along with the others in the series. So I'm really happy to be able to have seen this one along with the other films in the series. I am really enjoying watching the evolution of Rohmer's work as it unspools during the viewing of the "Six Moral Tales." I've done this before with music, listening to, say, Sonic Youth from their early days and moving forward chronologically. It's not always the easiest thing to do, but I really get a greater sense of the artist's impact and development doing it this way. So thanks to Netflix for making a "long wait" actually a very reasonable one.
I can't get enough of "My Night." After seeing it twice over the course of two days, I still feel like I want to see it again and again. There's just so much there, so much to observe, digest and think about. It goes so much deeper than just a canned synopsis of the film ("three people meet to discuss the nature of philosophy, religion and love over the course of an evening.")
The film begins in a beautiful old church, the kind of which seem to be found practically on every street corner in Europe. Jean-Louis (Jean-Louis Trintignant) spots the blonde-haired student Fracoise (Marie-Christine Barrault) during the service and is immediately smitten. He follows her after the service but loses her. Nevertheless, this brief encounter is enough to convince Jean-Louis that he will one day marry Francoise. His pursuit is interrupted when he chances upon Vidal (Antoine Vitez), an old friend (and a Marxist) he has not seen in 14 years. It's Christmastime and Vidal is going to visit his friend Maud (Francoise Fabian), a beautiful divorcee. Vidal clearly has feelings for Maud, but their relationship is destined to remain just friendly ("we don't get along well on a day-to-day basis.") Vidal implores Jean-Louis to come along and the three spend the evening in animated, deep conversation.
The philosopher and mathematician Blaise Pascal is almost a co-star during the night at Maud's. Jean-Louis takes a dim view of Pascal's condemnation of Christianity and marriage. There is also much talk of Pascal's wager. This probably a really simplified explanation but it goes a little something like this: If facing long odds against something (say 10 to 1 against the existence of God) you must stake everything on that one chance. Because if God does not exist and you lose your bet, then your loss is minimal. But if God does exist, then our reward will be great and eternal.
After some impressive verbal sparring all around, Vidal leaves, leaving Jean-Louis alone with the beautiful Maud (truly one of the more amazing female characters you will ever see on screen). Maud comes "from a family of free-thinkers" and is an atheist. Her views on marriage and love are diametrically opposed to Jean-Louis', who holds traditional Catholic views of faithfulness and devotion. Maud is clearly taken with Jean-Louis and the moral conflict arises when Jean-Louis is tempted to "cheat" on Francoise, whom he doesn't even speak to until after leaving apartment the following morning, and sleep with Maud. Jean-Louis does eventually get to talk to Francoise, and she is open and receptive to his advances. Icy roads provide a convenient excuse for Jean-Louis to give her a ride home and when the car becomes stuck on the narrow streets near her home, Francoise advises him to spend the night. Francoise clearly shares Jean-Louis' feelings, but, much like the title character in "Suzanne's Career," Francoise is different from what she appears to be on the surface.This film is excellent across the board. The characters are fascinating. Jean-Louis is guided by his Catholic teachings and seems genuinely sincere in his desire to live a godly life. But, like many of us, he is torn between that and his earthly desires. It is also interesting to watch Jean-Louis' transformation of the course of the film. At first, he is quiet and retiring, but as the night at Maud's progress, he grows in confidence and poise. He never grows cocky, like some of the other male characters in other "Six Moral Tales" movies, but does show more assertiveness and confidence during and after his association with Maud. Vidal is a riot, fast-talking, good with the quips and in love with Maud (even though he never outright says it). His motivation for wanting Jean-Louis and Maud to meet one another in the first place and then be together is interesting and is something those two characters debate during their time together. And Maud, well, what can you say? She has it all--beauty, brains, charm, confidence--in short, the kind of woman every guy would be glad to call his own. And yet there is a sadness to her just below the surface--it is very subtle and doesn't show itself all the time. But it is there and it caused me to look at her character with a lot of sympathy and affection.
The film is in fabulous black-and-white, with the snowy December streets of Clermont providing the backdrop. Everything is wonder to look at--the huge church packed with celebrants at the Christmas Eve mass, the tight, trafficky streets where Francoise rides her bike and the brightly-lit bookstores filled floor-to-ceiling with philosophy texts and math primers. All credit to the cinematography of Nestor Almenderos, whose exquisite work helps makes this--and the other Moral Tales--the memorable works they are.
So too, is "Claire's Knee," which (to me) suffers only in comparison because I saw it right after seeing "My Night" twice. Not many films can match up to that one and "Claire's Knee" does indeed fall a bit short. However, there is still plenty to recommend in the fifth of the Moral Tales.
Our hero is Jerome (Jean-Claude Brialy) a dapper cultural attache who is engaged to be married to Lucinde. Lucinde is only seen in the form of a photo Jerome has with him, and it's commented upon that the photo makes her look "severe." Yet despite his flirtatious relationship with Aurora (Aurora Cornu), Jerome is happy with Lucinde and is looking forward to getting married after a sometimes strained six-year courtship. With a few weeks to kill and some business to attend to before his nuptials, Jerome re-kindles his friendship with the wise Aurora, who is lodging at a country home owned by the twice-married and now single Mrs. Walter (Michele Montel). Mrs. Walter has teen-aged daughters by two different men--the precocious Laura (Beatrice Romand), who is all knees and elbows, and the beautiful Claire (Laurence de Monaghan). Laura immediately takes a shine to the urbane Jerome and soon puppy love is in full bloom. Aurora playfully urges Jerome on, chiding him, scolding him and telling him what to do in regards to Laura. Jerome feels Aurora is trying to use him as her "guinea pig" and provide her with material for a story.
Against his better judgment (and despite the considerable age difference), Jerome slowly but surely finds himself attracted to the almost 17-year-old Laura. While on a hike together in the mountains, he kisses her. Instead of building from that moment though, the relationship starts to wane, and indeed Laura begins spending more time with a school friend her own age. This irritates Jerome to no end and he confides in Aurora, who is having quite the good time observing and listening to her friend's conundrum. On the rebound, Jerome spots Claire (who doesn't make her appearance until about 45 minutes in). He is immediately attracted to her--more specifically her knee (and a nice knee it is too.) Jerome feels that her knee is the entry point to his desire and if he could only touch it, he would be a happy, contented and fulfilled man. But Claire has a boyfriend too, who may or may not have her best interests at heart (and who may or may not be completely faithful). The remainder of the film centers on Jerome's pursuit of that goal, which ultimately is achieved but not in the way that perhaps he had intended. Claire's response too, is quite different from what Jerome may have been hoping for.This movie has the typical beautiful Moral Tales scenery (this time the setting is Annecy, located near Switzerland in the mountains). There is some great natural sound here (birds chirping, dogs barking) which is reminiscent of "La Collectionneuse." The dialogue is--as always--punchy, sharp and witty and the cast is excellent (in particular Cornu, a real-life novelist and poet, and Romand). To me, "My Night" was a home run. "Claire's Knee" is a booming double off the wall in centerfield. And there's nothing wrong with that (forgive the baseball metaphor, it's late, I've been trying to get this post written for several hours and I am starving!).
Want to discuss "My Night at Maud's" or "Claire's Knee?" Leave a comment.
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