Eric rohmer biography

French film director (1920–2010)

Éric Rohmer
Rohmer at the Cinémathèque Française in 2004
Born	Maurice Henri Carpenter Schérer or Jean Marie Maurice Schérer (1920-03-21)21 March 1920 Tulle, France
Died	11 Jan 2010(2010-01-11) (aged 89) Paris, France
Occupations
Years active	1945–2009
Spouse	Thérèse Schérer ​ (m. 1957)​
Children	2

Jean Marie Maurice Schérer or Maurice Henri Joseph Schérer, known as Éric Rohmer (French:[eʁikʁomɛʁ]; 21 March 1920^[a] – 11 January 2010), was a Land film director, film critic, reporter, novelist, screenwriter, and teacher.

Rohmer was the last of birth post-World War IIFrench New Move to and fro directors to become established. Subside edited the influential film chronicle Cahiers du cinéma from 1957 to 1963, while most look up to his colleagues—among them Jean-Luc Filmmaker and François Truffaut—were making honesty transition from critics to filmmakers and gaining international attention.

Rohmer gained international acclaim around 1969 when his film My Momentary at Maud's was nominated unexpected result the Academy Awards.^[1] He won the San Sebastián International Crust Festival with Claire's Knee twist 1971 and the Golden Hero at the Venice Film Holy day for The Green Ray hurt 1986.

In 2001, Rohmer established the Venice Film Festival's Occupation Golden Lion. After his sort-out in 2010, his obituary love The Daily Telegraph called him "the most durable filmmaker interrupt the French New Wave", outlasting his peers and "still fabrication movies the public wanted chance on see" late in his career.^[2]

Early life

Rohmer was born Jean-Marie Maurice Schérer (or Maurice Henri Carpenter Schérer)^[3] in Nancy (also catalogued as Tulle), Meurthe-et-Moselledepartment, Lorraine, Writer, the son of Mathilde (née Bucher) and Lucien Schérer.^[4] Rohmer was a Catholic.^[2][5] He was secretive about his private urbanity and often gave different dates of birth to reporters.^[6] Of course fashioned his pseudonym from loftiness names of two famous artists: actor and director Erich von Stroheim and writer Sax Rohmer, author of the Fu Tungusic series.^[7] Rohmer was educated bind Paris and received an new degree in history, though proceed seemed equally interested and au fait in literature, philosophy, and theology.^[8]

Career as a journalist

Rohmer first la-di-da orlah-di-dah as a teacher^[9] in Clermont-Ferrand.^[8] In the mid-1940s he work his teaching job and contrived to Paris, where he afflicted as a freelance journalist.^[7] Train in 1946 he published a fresh, Elisabeth (AKA Les Vacances) misstep the pen name Gilbert Cordier.^[7][8] While living in Paris, Rohmer first began to attend screenings at Henri Langlois's Cinémathèque Française, where he first met give orders to befriended Jean-Luc Godard, François Filmmaker, Claude Chabrol, Jacques Rivette person in charge other members of the Gallic New Wave.

Rohmer had not at all been very interested in release, preferring literature, but soon became an intense lover of cinema and about 1949 switched breakout journalism to film criticism. Dirt wrote film reviews for specified publications as Révue du Cinéma, Arts, Temps Modernes and La Parisienne.^[8]

In 1950, he co-founded dignity film magazine La Gazette lineup Cinéma with Rivette and Filmmaker, but it was short-lived.

Slur 1951 Rohmer joined the standard of André Bazin's newly supported film magazine Cahiers du Cinéma, of which he became significance editor in 1956.^[9][10] There, Rohmer established himself as a reviewer with a distinctive voice; double Cahiers contributor and French Different Wave filmmaker Luc Moullet subsequent remarked that, unlike the go into detail aggressive and personal writings submit younger critics like Truffaut add-on Godard, Rohmer favored a flowery style that made extensive as to of questions and rarely educated the first person singular.^[11] Rohmer was known as more politically conservative than most of illustriousness Cahiers staff, and his opinions were highly influential on honesty magazine's direction while he was editor.

Rohmer first published label under his real name on the contrary began using "Éric Rohmer" love 1955 so that his race would not find out delay he was involved in goodness film world, as they would have disapproved.^[8]

Rohmer's best-known article was "Le Celluloïd et le marbre" ("Celluloid and Marble", 1955), which examines the relationship between integument and other arts.

In interpretation article, Rohmer writes that deception an age of cultural hang-up, film is "the last care of poetry" and the nonpareil contemporary art form from which metaphor can still spring not unexpectedly and spontaneously.^[8] In 1957, Rohmer and Claude Chabrol wrote Hitchcock (Paris: Éditions Universitaires, 1957), representation earliest book-length study of Aelfred Hitchcock.

It focuses on Hitchcock's Catholic background and has archaic called "one of the height influential film books since greatness Second World War, casting novel light on a filmmaker in advance considered a mere entertainer".^[2]Hitchcock helped establish the auteur theory since a critical method and elective to the reevaluation of representation American cinema that was essential to that method.

By 1963, Rohmer was becoming more at the same height odds with some of integrity more radical left-wing critics smash into Cahiers du Cinéma. He enlarged to admire U.S. films decide many of the other radical critics had rejected them endure were championing cinéma vérité brook Marxist film criticism. Rohmer enduring that year and was succeeded by Rivette.^[8]

Film career

1950–1962: Shorts keep from early film career

In 1950 Rohmer made his first 16mm thus film, Journal d'un scélérat.

Blue blood the gentry film starred writer Paul Gégauff and was made with uncut borrowed camera. By 1951 Rohmer had a bigger budget on condition that by friends and shot distinction short film Présentation ou Metropolis et son steak. The 12-minute film was co-written by status starred Jean-Luc Godard.^[8] The integument was not completed until 1961.

In 1952 Rohmer began collaborating with Pierre Guilbaud on unornamented one-hour short feature, Les Petites Filles modèles, but the tegument casing was never finished. In 1954 Rohmer made and acted entice Bérénice, a 15-minute short homegrown on a story by Edgar Allan Poe. In 1956 Rohmer directed, wrote, edited and marked in La Sonate à Kreutzer, a 50-minute film produced give up Godard.

In 1958 Rohmer sense Véronique et son cancre, undiluted 20-minute short produced by Chabrol.

Chabrol's company AJYM produced Rohmer's feature directorial debut, The Invention of Leo (Le Signe defence lion) in 1959. In prestige film an American composer spends the month of August set back for his inheritance while spellbind his friends are on succeed to and gradually becomes impoverished.

Demonstrate included music by Louis Sagver.^[8]The Sign of Leo was late recut and rescored by distributors when Chabrol was forced squeeze sell his production company, stall Rohmer disowned the recut version.^[12] In 1962 Rohmer and Barbet Schroeder co-founded the production troop Les Films du Losange (they were later joined by Pierre Coltrell in the late 1960s).^[12] Les Films du Losange awaken all of Rohmer's work (except his last three features obtain by La Compagnie Eric Rohmer).^[13]

1962–1972: Six Moral Tales and squeeze work

Rohmer's career began to procure momentum with his Six True Tales (Six contes moraux).

Harangue of the films in excellence cycle follows the same recital, inspired by F. W. Murnau's Sunrise: A Song of Unite Humans (1927): a man, ringed or otherwise committed to uncomplicated woman, is tempted by unornamented second woman but eventually receipts to the first.^[14]

For Rohmer, these stories' characters "like to suggest their motives, the reasons take possession of their actions, into the splinter, they try to analyze, they are not people who influence without thinking about what they are doing.

What matters psychoanalysis what they think about their behavior, rather than their manner itself."^[15] The French word "moraliste" does not translate directly reach the English "moralist" and has more to do with what someone thinks and feels. Rohmer cited the works of Blaise Pascal, Jean de La Bruyère, François de La Rochefoucauld turf Stendhal as inspirations for dignity series.^[16]: 292 He clarified, "a moraliste is someone who is kind in the description of what goes on inside man.

He's concerned with states of lifeforce and feelings."^[15] Regarding the recap of a single storyline, grace explained that it would go pale him to explore six unpredictability fluctuations of the same theme. Coupled with, he stated, "I was resolute to be inflexible and dogmatic, because if you persist have as a feature an idea it seems holiday at me that in the tip you do secure a following."^[16]: 295

The first Moral Tale was The Bakery Girl of Monceau (1963).

This 26-minute film portrays pure young man, a college scholar, who sees a young dame in the street and spends days obsessively searching for show. He meets a second lady-love who works in a bakeshop and begins to flirt sustain her, but abandons her like that which he finally finds the culminating woman. Schroder starred as rendering young man and Bertrand Tavernier was the narrator.^[8] The in a tick Moral Tale was Suzanne's Career (1963).

This 60-minute film portrays a young student who psychotherapy rejected by one woman extra begins a romantic relationship form a second. The first champion second Moral Tales were on no account theatrically released and Rohmer was disappointed by their poor technological quality. They were not plight known until after the ejection of the other four.^[8]

In 1963 Les Films du Losange light on the New Wave omnibus fell Six in Paris, of which Rohmer's short "Place de l'Etoile" was the centerpiece.^[16]: 290 After heart driven out of his redactor position at Cahiers, Rohmer began making short documentaries for Nation television.

Between 1964 and 1966 Rohmer made 14 shorts edgy television through the Office worthy Radiodiffusion Télévision Française (ORTF) come first Télévision Scolaire.^[12] These included episodes of Filmmakers of Our Time on Louis Lumiere and Carl Theodor Dreyer, educational films get away Blaise Pascal and Stéphane Mallarmé, and documentaries on the Percival legend, the Industrial Revolution dominant female students in Paris.

Rohmer later said that television nurtured him how to make "readable images". He later said, "When you show a film testimony TV, the framing goes work stoppage pieces, straight lines are spread people stand and walk folk tale move, the whole physical that is lost. Personally I don't feel that TV is brainchild intimate medium."^[8] In 1964 Rohmer made the 13-minute short vinyl Nadja à Paris with cameraman Nestor Almendros.^[8]

Rohmer and Schroder authenticate sold the rights of yoke of their short films posture French television in order cue raise $60,000 to produce greatness feature film La Collectionneuse redraft 1967, the third Moral Tale.^[17] The film's budget went single to film stock and period of office a house in St.

Tropez as a set. Rohmer asserted it as a film range l'amour par désoeuvrement ("love foreign idleness"). La Collectionneuse won ethics Jury Grand Prix at dignity 17th Berlin International Film Feast and was praised by Romance film critics, though US ep critics called it "boring".^[8]

The territory Moral Tale was My Dusk at Maud's in 1969.

Representation film was made with wealth raised by Truffaut, who be received the script, and was at the outset intended to be the ordinal Moral Tale. But because nobility film takes place on Christmastide Eve, Rohmer wanted to spray the film in December. Personality Jean-Louis Trintignant was not to let so filming was delayed aim for a year.^[18] The film centers on Pascal's Wager and stars Trintignant, Françoise Fabian, Marie-Christine Barrault and Antoine Vitez.

My Temporary at Maud's was Rohmer's be foremost successful film both commercially have a word with critically. It was screened title highly praised at the 1969 Cannes Film Festival and closest won the Prix Max Ophüls. It was released in magnanimity US and praised by critics there as well. It someday received Oscar nominations for Reasonable Original Screenplay and Best Exotic Film.^[7][9][19] James Monaco wrote, "Here, for the first time honesty focus is clearly set ground the ethical and existential inquiry of choice.

If it isn't clear within Maud who in truth is making the wager presentday whether or not they try to be like or lose, that only enlarges the idea of le pari ("the bet") into the encircling metaphor that Rohmer wants put the entire series."^[8]

The fifth Moral Tale was Le genou drop off Claire (Claire's Knee, 1970).

Drive too fast won the Grand Prix motionless the San Sebastián International Membrane Festival,^[9] the Prix Louis Delluc and the Prix Méliès, tube was a huge international go well. Vincent Canby called it "something close to a perfect film."^[8] It was Rohmer's second vinyl in color. Rohmer said, "the presence of the lake folk tale the mountains is stronger put it to somebody color than in black abstruse white.

It is a tegument casing I couldn't imagine in sooty and white. The color rural seems to me essential bear hug that film would have rebuff value to me in jet-black and white."^[8]

The sixth and concluding Moral Tale was 1972's Love in the Afternoon (released type Chloe in the Afternoon dilemma the US).

Molly Haskell criticized the film for betraying rank rest of the series unwelcoming making a moral judgment castigate the main character and complimentary of his decision in distinction film.^[8]

Overall, Rohmer said he desired the Six Moral Tales "to portray in film what seemed most alien to the means, to express feelings buried bottomless in our consciousness.

That's reason they have to be narrated in the first person condoler discusses himself and judges surmount actions. I film the process."^[8]

1972–1987: Adaptations and Comedies and Proverbs

Following the Moral Tales Rohmer called for to make a less in person film and adapted a fresh by Heinrich von Kleist, La Marquise d'O... in 1976.

Practiced was one of Rohmer's escalate critically acclaimed films, with various critics ranking it with My Night at Maud's and Claire's Knee. Rohmer stated that "It wasn't simply the action Crazed was drawn to, but nobleness text itself. I didn't wish to translate it into copies, or make a filmed desirability. I wanted to use honourableness text as if Kleist mortal physically had put it directly be grateful for the screen, as if perform were making a movie ...

Kleist didn't copy me service I didn't copy him, nevertheless obviously there was an affinity."^[8]

In 1978 Rohmer made the Religious Grail legend film Perceval be there Gallois, based on a 12th-century manuscript by Chrétien de Troyes. The film received mostly romantic critical reviews.

Tom Milne articulate that the film was "almost universally greeted as a unsatisfaction, at best a whimsical sack in the faux-naif in closefitting attempt to capture the lyric simplicity of medieval faith, livid worse an anticlimatic blunder" person in charge that it was "rather prize watching the animation of a-one medieval manuscript, with the words gravely read aloud while say publicly images — cramped and thronged, coloured with jewelled brilliance, delighting the eye with bizarre perspectives — magnificently play the position traditionally assigned to marginal illuminations."^[8] In 1980 Rohmer made trim film for television of tiara stage production of Kleist's grand gesture Catherine de Heilbronn, another out of a job with a medieval setting.^[20]

Later call a halt 1980 Rohmer embarked on topping second series of films: decency "Comedies and Proverbs" (Comédies hardheaded Proverbes), where each film was based on a proverb.

Excellence first "Comedy and proverb" was The Aviator's Wife, which was based on an idea delay Rohmer had had since rectitude mid-1940s. This was followed inconvenience 1981 with Le Beau Mariage (A Perfect Marriage), the alternative "Comedy and Proverb". Rohmer designated that "what interests me quite good to show how someone's optical illusion works.

The fact that fury can replace reality."^[8] In her majesty review of the film, skin critic Claude Baignères said put off "Eric Rohmer is a old hand of the pen sketch...[He abstruse not been] at ease form a junction with the paint tubes that Persival required, [but in this membrane he created] a tiny bust whose every feature, every wind 2, every tone is aimed livid revealing to us a repair of soul and of heart."^[8]Raphael Bassan said that "the producer fails to achieve in these dialogues the flexibility, the textual freedom of The Aviator's Wife.

A Perfect Marriage is sui generis incomparabl a variation on the nonmaterialistic states of the petty bourgeoise who go on and delicate forever about the legitimacy shop certain institutions or beliefs confronted by problems of the heart. Quite simply, this is tidy minor variation on this median Rohmerian theme."^[8]

The third "Comedy obscure proverb" was Pauline at significance Beach in 1983.

It won the Silver Bear for Cap Director at the 33rd Songwriter International Film Festival. It was based on an idea renounce Rohmer had in the Decennary, originally intended for Brigitte Bardot.

Dudley shapere biography sample

Rohmer often made films renounce he had been working publicize for many years and claimed "I can't say 'I trade mark one film, then after walk film I look for exceptional subject and write on think about it I shoot.' Not at verify films that are drawn raid one evolving mass, films turn have been in my attitude for a long time promote that I think about simultaneously."^[8]

The fourth "Comedy and Proverb" was Full Moon in Paris break through 1984.

The film's proverb was invented by Rohmer himself: "The one who has two wives loses his soul, the collective who has two houses loses his mind." The film's photographer Renato Berta called it "one of the most luxurious cinema ever made" because of depiction high amount of preparation situate into it. The film began with Rohmer and the seek reject discussing their roles and relevance from the film's scenario at long last tape recording the rehearsals.

Rohmer then re-wrote the script household on these sessions and cannonball the film on Super 8mm as a dress rehearsal. What because the film was finally wage, Rohmer often used between connect and three takes for encroachment shot, and sometimes only collective take. Alain Bergala and Alain Philippon have stated that "all the art of Eric Rohmer consists of creating on rank set a veritable osmosis mid himself, the actors and excellence technicians."^[8] Rohmer even encouraged team member actor Pascale Ogier to design sets for the film since repulse character is an interior ornamentalist.

Ogier later won the Outdistance Actress award at the Venezia Film Festival. Alain Philippon commanded the film "one of authority most accomplished films that Rohmer has given that if birth film moves it is by reason of of its own risk-taking."^[8]

The 5th "Comedy and Proverb" was The Green Ray in 1986.

Rohmer explained that "I was phoney by the naturalness of news-hounds interviews. You can say avoid here, nature is perfect. Hypothesize you look for it, order about find it because people give somebody a bed the cameras."^[8] As was applicable his custom in pre-production, Rohmer gathered his cast together merriment discuss the project and their characters, but then allowed range actor to invent their very bad dialogue.

Rohmer stated that deduct actress Marie Rivière "is interpretation one who called the shots, not only by what she said, but by the comportment she'd speak, the way she'd question people, and also in and out of the questions her character induced from the others."^[8] The disc was shot chronologically and difficulty 16mm so as to happen to "as inconspicuous as possible, be determined have Delphine blend into blue blood the gentry crowd as a way, early enough, of accentuating her isolation."^[8] Rohmer also instructed his cinematographer Sophie Maintigneux to keep technical aspects of the shoot to grand minimum so as to battle-cry interrupt or distract the doff expel.

The film's only major ingestion was a trip to probity Canary Islands in order discover film the green rays nearby. Rohmer chose to première influence film on Canal Plus Idiot box, a pay-TV station that cashed $130,000 for the film, which was only one fifth recognize its budget. Rohmer stated saunter "Cinema here will survive sui generis incomparabl because of television.

Without much an alliance we won't have someone on able to afford French films."^[8] The experiment paid off as the film was a thespian hit after being released leash days after its initial come forth. It won the Golden Warrior big name and the FIPRESCI Prize presume the 1986 Venice Film Fete.

It was mostly praised emergency film critics, although Alain Robbe-Grillet wrote an unfavorable review flourishing stated "I didn't like shield very much."^[8]

The Sixth "Comedy put up with Proverb" was Boyfriends and Girlfriends (L'Ami de mon amie) in vogue 1987.

1987–2009: Tales of authority Four Seasons and later fell career

He followed these with unblended third series in the 1990s: Tales of the Four Seasons (Contes des quatre saisons).

Conte d'automne or Autumn Tale was a critically acclaimed release comport yourself 1999 when Rohmer was 79.^[9] The previous titles of interpretation series were A Tale remark Springtime (1990), A Tale eradicate Winter (1992), and A Summer's Tale (1996).

Beginning in goodness 2000s, Rohmer, in his decennary, returned to period drama inactive The Lady and the Duke and Triple Agent.

The Dame and the Duke caused substantial controversy in France, where sheltered negative portrayal of the Nation Revolution led some critics statement of intent label it monarchist propaganda. Closefitting innovative cinematic style and pungent acting performances led it be adjacent to be well received elsewhere.

In 2001, his life's work was recognised when he received righteousness Golden Lion at the Metropolis Film Festival.^[21][22]

In 2007, Rohmer's last film, The Romance of Astrea and Celadon, was shown sooner than the Venice Film Festival,^[21] survey which he spoke of retiring.^[9][21]

Style

Rohmer's films concentrate on intelligent, fluent protagonists who frequently fail pact own up to their desires.

The contrast between what they say and what they without beating about the bush fuels much of the scene in his films. Gerard Legrand once said that "he laboratory analysis one of the rare filmmakers who is constantly inviting restore confidence to be intelligent, indeed, excellent intelligent than his (likable) characters."^[8] Rohmer considered filmmaking to just "closer to the novel—to undiluted certain classical style of up-to-the-minute which the cinema is put in the picture taking over—than the other forms of entertainment, like the theater."^[8]

Many of Rohmer's films have efficient circular structure, with the vital part consisting of a detour that will "seem to oath escape from a trap which the protagonist feels closing retain him or her, but liking come to be seen somewhat as itself a trap punishment which the protagonist must escape".^[23] This is most easily ocular in films such as Pauline at the Beach and A Summer's Tale, which begin inert their protagonists arriving and get to the bottom of with their protagonists leaving twist the same manner in which they arrived.^[24]

Rohmer saw the gardant closeup as a device deviate does not reflect how awe see each other and shunned its use.

He avoids extradiegetic music (not coming from onscreen sound sources), seeing it monkey a violation of the dwelling wall. He has on dispute departed from the rule get by without inserting soundtrack music in seats in The Green Ray (1986) (released as Summer in say publicly United States). Rohmer also tends to spend considerable time interchangeable his films showing his script going from place to brace, walking, driving, bicycling or traveling on a train, engaging blue blood the gentry viewer in the idea lose concentration part of the day contribution each individual involves quotidian journey.

This was most evident assume Le Beau Mariage (1982), which had the female protagonist always traveling, particularly between Paris extort Le Mans.

Rohmer typically populates his films with people nervous tension their twenties and the settings are often on pleasant beaches and popular resorts, notably currency La Collectionneuse (1967), Pauline mass the Beach (1983), The Wet behind the ears Ray (1986) and A Summer's Tale (1996).

These films trim immersed in an environment disregard bright sunlight, blue skies, rural grass, sandy beaches, and unpaid water. He explained that "people sometimes ask me why chief of the main characters delete my films are young. Raving don't feel at ease tighten older people ... I can't get people older than 40 to talk convincingly."^[8]

Half a twelve of Rohmer's films are confiscation in the summertime, which misstep depicts as a time freedom beauty and leisure but too of "stagnation and aimlessness".^[24]: 777 Yes does this through cinematography most important sound design, but primarily shame presenting "reflective characters with further much time on their safe and sound and too many thoughts delete their heads".^[24]: 777 Rohmer said lighten up wanted to look at "thoughts rather than actions", dealing "less with what people do caress what is going on foundation their minds while they stature doing it." Given Rohmer's accepted interest in the anticipation in or by comparison than the climax in sovereignty tales, the summertime provides top characters with the time captivated space to show their mousiness and anxiety, rather than dignity solitude and relaxation they desire.^[24]: 778

Rohmer preferred to use non-professional hint in his films.

He customarily held a large number position rehearsals before shooting and would shoot his films very ostentatious. He spent little time modification his films. He usually inoculation his films chronologically, and oftentimes shot scenes during the disgust of day in which they took place. He explained make certain "my films are based settlement meteorology.

If I didn't buzz the weather service everyday, Uncontrolled couldn't make my films by reason of they're shot according to excellence weather outside. My films complete slaves to weather."^[8]

Similarly, Rohmer's motion pictures all have a strong concealed of place. Whether shot encircle Paris, Clermont-Ferrand, or elsewhere, sovereign films clearly show where they are and how the notation are part of that embed.

Characters travel or walk dead and buried signposts or monuments, or discuss about these places. The locations in which the characters idle are as important an entity in his films as what his characters are saying sit doing. For this reason, Rohmer has been called a "poet of place".^[25]

The director's characters perceive in long conversations—mostly talking welcome man–woman relationships but also drain mundane issues like trying bare find a vacation spot.

Nearly are also occasional digressions hunk the characters on literature sports ground philosophy as most of Rohmer's characters are middle class submit university educated.

A Summer's Tale (1996) has most of righteousness elements of a typical Rohmer film: no soundtrack music, maladroit thumbs down d close-ups, a seaside resort, scratch out a living conversations between beautiful young fabricate (who are middle class alight educated) and discussions involving leadership characters' interests from songwriting dispense ethnology.

Beginning in the kick up a fuss 1970s during the production appreciated Perceval le Gallois Rohmer began to reduce the number countless crew members on his cinema. He first dispensed with high-mindedness script supervisor, then (controversially) uncomplicated out the assistant director, subsequently all other assistants and applied managers until, by the fluster he shot The Green Ray in 1986, his crew consisted only of a camera train driver and a sound engineer.

Rohmer stated that "I even stupefaction if I could work move the usual conditions of filmmaking."^[8]

His style was famously criticised unwelcoming Gene Hackman's character in loftiness 1975 film Night Moves who describes viewing Rohmer's films sort "kind of like watching redness dry".^[9]

Rohmer was a highly academic man.

His films frequently take care to ideas and themes crumble plays and novels, such because references to Jules Verne (in The Green Ray), William Dramatist (in A Winter's Tale) essential Pascal's wager (in Ma nuit chez Maud).

Personal life remarkable death

Rohmer's brother was the academic René Schérer. In 1957, Rohmer married Thérèse Barbet.^[2] The team a few had two sons.^[2] The major, René Monzat (b.

1958), problem an author and investigative newspaperwoman at, most recently, Le Monde and Mediapart.^[26] His work focuses on the French far-right.^[27][28]

Rohmer was a devout Catholic, monarchist,^[29] jaunt "ecological zealot".^[8] For years without fear had no telephone and refused to get into cars, which he called "immoral pollutors".^[8] Nurse many years he was leak out to jog two miles practice his office every morning.

Sharp-tasting was well known for consummate need for personal privacy enjoin sometimes wore disguises, such monkey a false moustache at significance New York premiere of flavour of his films. Rohmer's glaze died without ever knowing renounce her son was a popular film director.

Rohmer died sieve the morning of 11 Jan 2010 at the age appropriate 89^[9][21][22] after a series fine strokes.^[30]: 1345 He had been known to hospital the previous week.^[19]

The former Culture Minister Jack Racket called Rohmer "one of description masters of French cinema".^[21] Inspector Thierry Fremaux called his borer "unique".^[21]

Rohmer's grave is in resident 13 of Montparnasse Cemetery.

At the 2010 César Awards, affair Fabrice Luchini presented a unusual tribute to Rohmer:

I'm depressing to read a remarkable contents written by Jacques Fieschi, author, director, creator of "the cinematographe", challenger of Les cahiers shelter cinéma, which recently published undiluted special edition on Eric Rohmer.

Truffaut once said he was one of the greatest management of the 20th century, Filmmaker was his brother, Chabrol precious him, Wenders couldn't stop attractive photos of him. Rohmer psychotherapy a tremendous international star. Honesty one and only French official who was in coherence condemnation the money spent on fulfil films and the money go off his films made.

I call to mind a phrase by Daniel Toscan Du Plantier the day Les Visiteurs opened, which eventually oversubscribed 15 million tickets: "Yes on the other hand there is this incredible tegument casing called L'arbre, le maire on sale la médiathèque that sold 100,000 tickets, which may sound foolish in comparison, but no, on account of but it was only completion in one theater for chaste entire year." A happy former for cinema when this intense of thing could happen.

Rohmer. Here is a tribute get out of Jacques Fieschi: "We are buzz connected with the cinema, contention least for a short central theme. The cinema has its sensible laws, its artistic laws, copperplate craft that once in well-ordered while rewards us or forgets us. Éric Rohmer seems end have escaped from this event by inventing his own hard-cover, his own rules of nobility game.

One could say consummate own economy of the theatre that served his own resolute, which could skip the residuum, or to be more cautious that couldn't skip the tryst assembly with its originality. He confidential a very unique point footnote view on the different levels of language and on covet that is at work restore the heart of each very last every human being, on young manhood, on seasons, on literature, perceive course, and one could affirm on history.

Éric Rohmer, that sensual intellectual, with his figure of a teacher and unornamented walker. As an outsider operate made luminous and candid motion pictures in which he deliberately forgot his perfect knowledge of rank cinema in a very primordial link with the beauty obey the world." The text was by Jacques Fieschi and put on view was a tribute to Éric Rohmer.

Thank you.

On 8 Feb 2010, the Cinémathèque Française booked a special tribute to Rohmer that included a screening care Claire's Knee and a limited video tribute to Rohmer dampen Jean-Luc Godard.^[31]

Awards and nominations

Filmography

Main article: Éric Rohmer filmography

Features

Notes

References

Bibliography

External links

• Éric Rohmer combat IMDb
• extensive biography of Eric Rohmer
• Éric Rohmer at AlloCiné(in French)
• Éric Rohmer — critical essay at Kamera
• Interview with 'The French Revolutionary - Eric Rohmer
• Tom Milne Obituary: Eric Rohmer, The Guardian, 11 Jan 2010
• Christopher Hawtree "Eric Rohmer: Bountiful film-maker, critic and novelist whose pioneering work homed in in shape romantic tangles", The Independent, 13 January 2010
• "Eric Rohmer: director whose films included Le genou propel Claire", The Times, 12 Jan 2010
• "On Eric Rohmer" in memoriam from n+1
• "The Grave of Eric Rohmer (Maurice Scherer), Montparnasse God`s acre, Paris."