Eric Rohmer's Six Moral Tales - Criterion Collection

Eric Rohmer's Six Moral Tales - Criterion Collection

Eric Rohmer's Six Moral Tales - Criterion Collection
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DVD Cover Information

Actor: *
Brand: Image Entertainment
DVD: Region Code 1
Audio: French (Original Language), Dolby Digital 1.0; English (Subtitled)
Format: Black & White, Box set, Dolby, DVD-Video, Full Screen, NTSC, Subtitled, Widescreen
Picture Format: 1.33:1
Running Time: 480 minutes
DVD Release Date: 2006-08-15
Audience Rating: PG (Parental Guidance Suggested)
Studio: Criterion

Movie Reviews of Eric Rohmer's Six Moral Tales - Criterion Collection

Movie Review: The films of Eric Rohmer
Summary: 5 Stars

$70+ is a good price for this box. It contains six movies: the four most important (Claire's knee, La Collectionneuse, Love in the afternoon and My night at Maud's) and two early shorter ones. Plus a lot of extra material, interviews and so on. The transfer of the four important movies are totally midblowing, especially La Collectionneuse which felt lika a recently filmed movie instead of over 40 years old (it was made in 1967)! (The picture in the two early films is not as good, but this is to be expected considering their age and the conditions under which they were produced, and they are well worth watching as early experiments when Rohmer found his style.)

Rohmers movies are very dialogue-based and contains philosophical reflections, moral dilemmas etc, but never become heavy or abstract, instead they have a delightful charm and are well worth watching several times. Highly recommended!

Summary of Eric Rohmer's Six Moral Tales - Criterion Collection

The multifaceted, deeply personal dramatic universe of Eric Rohmer has had an effect on cinema unlike any other. A succession of jousts between fragile men and the women who tempt them, the Six Moral Tales unleashed onto the film world a new voice, one that was at once sexy, philosophical, modern, daring, nonjudgmental, and liberating. Includes: The Bakery Girl of Monceau, Suzanne's Career, My Night at Maud's, La collectionneuse, Claire's Knee, and Love in the Afternoon.
Audiences love or hate the films of Eric Rohmer. The magnificent Criterion set of the French director's Six Moral Tales, his first film cycle, contains the films that first brought Rohmer to international attention--particularly My Night at Maud's, Claire's Knee, andLove in the Afternoon--in gorgeous film-to-dvd transfers, accompanied by a bounty of short films and other extras. Watching any of these films, even the short features that begin the series (The Bakery Girl of Monceau and Suzanne's Career), you will discover if Rohmer is for you. To some, his examinations of social mores and the psychology of love are absorbing, subtle, and sublime; to others, they're meandering, talky, and flat. But even his detractors must acknowledge that Rohmer draws out the twists of joy and anguish, brief and ephemeral, that haunt lovers as they grope towards security and happiness; and though his visual approach is rigorously simple, his images--thanks to cinematographer Nestor Almendros--are luminous.

The Bakery Girl..., only 23 minutes long, has all the basic elements: A man, infatuated with one woman, flirts with another, all the while comforting himself with self-serving rationalizations and a comic lack of self-knowledge. This film's simplicity makes it more charming and satisfying than the more awkward efforts of Rohmer's next two films, Suzanne's Career (about a student who idolizes a callous older boy and only too late realizes that the girl they've been mocking may have a better grasp on life) and La collectioneusse (about a love triangle at a countryside estate; oddly, though released two years before the next film, it's presented as the fourth in the series), though each has moments of insight and delight. The remaining three movies are masterpieces: In My Night at Maud's, a Catholic engineer (the superb Jean-Louis Trintignant, Three Colors: Red) wrestles with his morals and his desires while spending the night with the enigmatic and alluring Maud (Francoise Fabian, 5 x 2). Claire's Knee gently mocks Les Liaisons Dangereuse as a man about to be married is goaded by a female friend into pursuing an infatuation with a young nubile nymph. And the last of the series, Love in the Afternoon (also known as Chloe in the Afternoon) follows a husband whose unconsummated affair with an old friend almost capsizes his happy marriage. What's most remarkable about this series is that, though each has virtually the same plot, watching all of these films in close succession only highlights their intricate differences and the complex shadings of delusion and yearning. Rohmer's work grows more fascinating the more familiar his methods become. Some filmgoers consider "nuance" code for "boring," but anyone who finds the collision of hearts and minds more exciting than car crashes will find Six Moral Tales revelatory and rewarding. --Bret Fetzer

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