A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Sunday, July 12, 2026

A Tale of Summer (Éric Rohmer, 1996)

Amanda Langlet and Melvil Poupaud in A Tale of Summer

Cast: Melvil Poupaud, Amanda Langlet, Gwenaëlle Simon, Aurelia Nolin, Aimé Lefèvre, Alain Guelaff, Evelyne Lahana, Yves Guérin, Franck Cabot-David. Screenplay: Éric Rohmer. Cinematography: Diane Baratier. Film editing: Mary Stephen. Music: Philippe Eidel, Éric Rohmer, Mary Stephen. 

Had we but world enough and time,

This coyness, lady, were no crime. 

We would sit down, and think which way

To walk, and pass our long love's day. 

Andrew Marvell's great carpe diem lyric "To His Coy Mistress" was probably written when Marvell was in his 30s. Éric Rohmer's carpe diem movie, A Tale of Summer (Conte d'Été, aka A Summer's Tale) was made when Rohmer was 75. Marvell heard "Time's wingéd chariot hurrying near." Rohmer was all but riding in it. This film, the third in his series of "Tale of the Four Seasons," though set in the present, is a kind of memory piece, based on Rohmer's youthful experience. It centers on Gaspard (Melvil Poupaud), a twentysomething taking a summer break before starting his career teaching mathematics, idling in a beach resort in northwestern France. He attracts the attention of Margot (Amanda Langlet), on a summer job as a waitress before continuing her work as a researcher in ethnology. They start a flirtatious friendship, taking long walks and talking about each other's love life. Gaspard is in a tenuous relationship with Léna (Aurelia Nolin), whose arrival he expects any day -- she has been traveling in Spain with her sister and some cousins. At a disco with Margot one evening, Gaspard also attracts the attention of Solène (Gwenaëlle Simon), an acquaintance of Margot's. When Léna finally arrives, he finds himself juggling the attentions of all three women. In summary it sounds like an adolescent male fantasy, but Rohmer slyly exposes the awkwardness and discomfort in Gaspard's commitment phobia and his missteps with each woman. A lovely setting and a particularly skillful performance by Langlet as the most sensible figure in this romantic quadrangle give this slight film its great charm.  



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