Full Moon in Paris
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Movie Reviews of Full Moon in Paris
Movie Review: Full Moon, Full Heart
Summary: 5 Stars
I am so heartened to see this film getting solid reviews on Amazon, because it is truly a gem. It doesn't seem to be recognized as one of the canonical Rohmer films -- like "Pauline à la plage," "Le genou de Claire," "La femme de l'aviateur" -- but for his devotees, Rohmer's work is all of a piece. For those not sold on the Rohmer name alone, this is a twisty-turvy, drole, character- and dialog-driven French comedy-romance. Vincent Canby did write a glowing review that can be accessed from the New York Times online archives of film reviews. He likens Rohmer to the great miniaturists in art -- but there is in his movies a whiff, fresh and modern but quite discernable, of Fragonard and Boucher, those masters of lighthearted French romantic diversion.
The downsides are purely the packaging. As usual, Fox Lorber's editions are dreadful: lackluster prints, no widescreen, no options to leave subtitles off or have them in French, no special features.
But the beauty of the film itself makes all this of no consequence. In broad outline, this is a typical Rohmer tale of a pretty young woman and her willful, mildly wanton, and winsome path of self-determination -- her frustrations and foibles. Rohmer's preoccupations annoy some, but for me they are heartfelt, absorbing, and true. In fact, the truth lies in the very self-deception that he allows his characters to slip in and out of. For those who like the action in their films to be internal, for those who see action even in inaction, Rohmer's seemingly motion-less pictures can be full of excitement.
In this case, the heroine is less annoying than some of Rohmer's women -- not that his annoying ones aren't likable or make for unpleasant films, to be sure! Louise is played by the lovely Pascale Ogier. The intense Tcheky Karyo plays her solid, if stolid, boyfriend Remi. Louise is a somewhat birdlike creature in the French manner -- she enjoys nesting, creating and inhabiting her space (or spaces), but she is restless and wants to spread her wings. She is elegant but fragile-looking, and you can almost hear her little heart beating beneath her lissome frame draped in cowls and pullovers. Her restlessness may be "just a phase" -- the title (the French title, "Les nuits de la pleine lune" translates as "Nights of the Full Moon") even suggests as much. But if so, Rohmer never discounts or patronizes the vividness of what she is going through. Louise may be flighty, but her predicament -- self-inflicted though it may be -- is real. How she handles it may seem muddled, but it has its own authenticity, its own integrity. While watching the film, one doesn't feel a great investment in her fate -- not because you don't care, but because the journey itself is quite real, and engaging purely on its own terms: the film withholds any breath of judgment and you feel confident that it will wind up where it needs to.
As with many other Rohmer films in this series (notably the various summer locales of "Le rayon vert," "L'ami de mon amie" and "Pauline à la plage"), place is a significant player in the action. His sense of how environments affect people's lives and choices -- and even bring about decisive moments -- is one of the Rohmerian touches of truth. Louise's choice seems as much the choice of two places -- vibrant Paris (where she keeps a cozy pied-à-terre, and where even at her most befuddled she finds late-night consolation and philosophy from a fellow insomniac and artist at a diner) and the quiet satellite city (of which Remi is one of the designers), its remoteness accentuated by occasional shots of Louise at a distance, walking the long road from the train terminal.
One is struck with the balance, humor, and sexual fluidity of this movie. Remi the homebody isn't the only nester -- Louise's nesting just takes other forms. Remi indulges the occasional spate of immaturity just like Louise, and moments of self-dramatization. And Louise shows composure and certitude at key intervals. It's all within the bounds of the characters, as is the humor, which offers the tenderest touches of insight. More humor is embodied by Fabrice Luchini, playing Louise's best friend, Octave. He is as birdlike as she is, a self-absorbed writer gathering snippets of information and impressions to feather his literary nest. He is also forever putting the make on Louise, which she calmly and never coyly declines at every instance. It's obvious she is his friend out of affection and kindred spirits, not at all out of the ego-rush, and that's why at one moment she can push him away after another pass and in the next moment take his hand and head out the door to a party. It's this kind of wry, tender, non-judgmental nuance that you seldom see in the relationships between men and women in American movies.
Give this movie a watch, you'll find yourself smiling -- whether indulgently, knowingly, or sympathetically!
Movie Review: Beware of Distraction . . .
Summary: 5 Stars
One short point to add to the many excellent reviews of this movie, if you watch the early scene "Camille's Party" very carefully, ignoring the distraction of the conflict between Remi and Louise that brackets other key meetings, you may increase your enjoyment of this subtle French talkie. Or you may choose to view this scene again at the end of the movie. It's all there, clear as a bell, but one is distracted by the cameras attention to the neurotic young focus of the movie.In fact, this is the only Rohmer movie out of half a dozen I've viewed where a couple clearly and emphatically makes the transition to a mature, happy and probably lifelong relationship. But it is mostly done off camera.
A couple of other tiny points: The married writer who pursues Louise is probably Rohmer's alter ego in the film, and Louise probably represents his neurotic early films that typically don't go anywhere. The movie also seems to have some message about the project-like surburbs with their cold metal facilities, vs. the warm hubub of Paris. In other Rohmer movies, Parisians retreat to georgeous country homes with gardens, or seaside villas, but pointedly not in this movie.
If you have known people like the characters in the film, who say they want to be alone but compulsively hang out with whoever is available, becoming distracted from their true goals; if you like irony and don't need everything spelled out, and like to think about movies, you will enjoy this one. If you just want a light romantic comedy, watch an American film.
Movie Review: Essential French cinema: Rohmer's 'Les Nuits de la pleine lune.'
Summary: 5 Stars
Éric Rohmer (1920) first challenged traditional Hollywood cinema with his French New Wave cycle of films, "Six Moral Tales," which he completed in 1972 before commencing another six-film cycle, "Comedies and Proverbs," each based on a different proverb.
Based on the proverb, "he who has two women loses his soul, he who has two houses loses his mind," Full Moon In Paris (Les Nuits de la pleine lune) (1984) is the fourth in Rohmer's insightful "Comedies & Proverbs" film series. It tells the story of Louise (Pascale Ogier), a restless interior decorator bored with her suburban life outside of Paris, and her architect lover, Remi (Tcheky Karyo), who is content with their relationship just as it is in Marne-la-Vallée. Not ready to give up her single life, Louise rents an apartment in Paris, where she intends to fully enjoy the Parisian nightclub scene. After being seduced by another man, Louise realizes she loves Remi more than she thought. Meanwhile, Remi has met another woman. Rich in relationship dialogue, like many of Rohmer's films, Full Moon in Paris reveals how the course of love never did run smooth, particularly for his young Parisian characters. Hopefully Criterion will remaster Rohmer's "Comedies and Proverbs" series, and then offer it as a boxed collection similar its "Six Moral Tales" boxed set.
G. Merritt
Movie Review: ANOTHER GEM OF ONE OF THE LAST TRUE GIANTS OF TODAY CINEMA
Summary: 5 Stars
Fourth movie of director Eric Rohmer's COMEDIES AND PROVERBS serie, FULL MOON IN PARIS is without contest a masterpiece. Three terrific actors : Tchéky Kario who, 10 years later, will be the villain in GOLDENEYE, Fabrice Luchini who has managed, in the nineties, to be present in all major french movies and Pascale Ogier who will tragically disappear in 1984, the year of the theatrical release of FULL MOON IN PARIS. A more than clever screenplay with subtle dialogs will clean your ears, or your eyes if you don't understand french, from the spoken insanities of today cinema. Pascale "Louise" Ogier is living with Tchéky "Rémi" Karyo in the suburbs of Paris. She likes to pass her spare time with her ancient friends while Rémi stays at home. So, in order to save their relationship, she decides to sleep every friday night in a flat in Paris, alone. FULL MOON IN PARIS describes the consequences of this decision during the three months that follow.
Like in the plays of Musset or Marivaux, tragedy is always hidden behind comedy and Pascale Ogier's smiles and tears form a wonderful rainbow.
As always in Fox Lorber presentations of european movies, subtitles can't be removed and sound & images are of VHS quality, no more.
A DVD for your library.
Movie Review: One of the most touching films that I have ever seen!!!!!
Summary: 5 Stars
"Full Moon in Paris" is an absolute gem, far more than words can say! It is an absolutely joy and pleasure, to watch, and I can honestly say that, of all the films in my video library, this one is, by far, the most frequently viewed!All of the actors in this film give exceptionally commendable performances! Having said that, however, I must say that, quite truly, this movie really belongs to the lovely French actress, Pascale Ogier, who portrayed the character "Louise". I only hope and pray, that she won an award for best actress, as a result of her stellar performance, in this brilliantly glorious film.
I was quite saddened to learn, however, that Ms. Ogier, quite tragically, died of a heart attack in 1984, which was the same year "Full Moon in Paris" was released. She was only 24 years old.
Thus, in very many ways, this movie is made all that very much more significant, for it is a final tribute to Pascale Ogier, whose shining light was cast into darkness, far too soon.
Goodbye, Pascale. You were one of France's true gems. You shall forever be lovingly remembered, as the sparkling star of "Full Moon in Paris", whose exceptionally promising film career tragically ended, before it barely had a chance, to begin.
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