Saturday September 25, 1999
C’est Beau!!!
Ah yes, Anthony Allas here once again with a movie review for what has now become the “occasional” dish of cultural sushi for your soul.
Conte d’ Automne or better known on the theatre marquee as “Autumn Tale” is the last chapter of Eric Rohmer’s quartet, “Tales of the Four Seasons.” Look upon it as a sophisticated fairy tale, set in the beauty of the Rhone Valley vineyards in France.
Rohmer was a founding father of the French New Wave, which includes Godard, Truffaut, Resnais, Malle and Chabrol. He tends to make his movies in cyclical groups. “Six Moral Tales,” which he once said was not so much about what people did as what they thought about while they were doing it, included three that made him famous: “My Night at Maud’s” (1969), “Claire’s Knee” (1971) and “Chloe in the Afternoon” (1972). These were followed by his “Comedies and Proverbs” and the current series, “Tales of the Four Seasons.”
It is not possible to spoil the plot in review of a single Rohmer film as it is never the story, but the telling of the story, that make his films a rich, emotionally satisfying experience. Ultimately, it is not the “what” of what happens in the movie that is as important as the “how.” What we view is the casual beauty of these mid-forties women, the intrusive smokestacks of the power plants that loom always in the background of the sensuous beauty and the elaborate happenstance that characterize every exchange between the characters. Rohmer is interested not in the mating but in the the dance, in the preening and the longing and the lies people tell themselves and each other.
In “Autumn Tale” Rohmer offers no new insights on relationships, and the movie’s slow pace will drive a lot of viewers quite mad with boredom. But, this film does something heroic in the film market of today which is filled with teen angst, prolific gore and dazzling special effects. It acknowledges, without condescension or cheap humor, the desire, loneliness and sexuality in the lives of middle-aged adults. Hence the season, Autumn.
Beatrice Romand is Magali, a surly, unruly-haired but kind-spirited 45-year-old Algerian widow who inherits her family’s vineyards. She fanciess a man but doesn’t know any as she lives in isolation on her lands, estranged from her two children, tied up in the harvesting of the grape. Her son Leo’s casual girlfriend, Rosine (Alexia Portal) sets about fixing her up with her old philosophy professor, Etienne (Didier Sandre), though Etienne generally prefers younger women. Magali’s childhood friend, the very happily married, Isabelle (Marie Riviere), comes up with a deliciously unconventional idea. She places a personal ad in the newspaper for Magali but fears that her friend may be too prickly and insecure to be told of these efforts on her behalf. So Isabelle answers the ads herself and chooses one among the applicants. She then proceeds to go on several lunch dates with Gerald (Alain Libolt) before revealing her true identity and her real intentions, much to his great confusion and consternation.
The suspense and fun of “Autumn Tale” is in seeing which of the men, if any, hit it off with her. As the gentle but hard-shelled Magali, Romand is heartfelt, and Riviere is a study in middle-aged elegance as Isabelle. Both Romand and Riviere made their start nearly twenty years ago in other Rohmer vehicles so there is a sense of history in their casting. Equally effective is Libolt as a sensitive fellow who answers a personal ad and stumbles into the lives of two intense ladies.
This is not a must-see film, and it certainly does not reinvent the cinematic wheel, but it does remind one of the power of good old-fashioned character-driven movies.
Just remember….I don’t repeat gossip, so listen closely the first time!
