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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Showing posts with label A Tale of Springtime. Show all posts
Showing posts with label A Tale of Springtime. Show all posts

Thursday, July 16, 2026

A Tale of Springtime (Éric Rohmer, 1990)

Anne Teyssèdre, Florence Darel, Hugues Quester, and Eloïse Bennett in A Tale of Springtime

CastAnne Teyssèdre, Florence Darel, Hugues Quester, Eloïse Bennett, Sophie Robin, Marc Lelou, François Lamore. Screenplay: Éric Rohner. Cinematography: Luc Pagès. Film editing: María Luisa García. 

Jeanne (Anne Teyssèdre) and Natacha (Florence Darel) meet at a party neither of them wants to be at, sparking a friendship that will be tested when their separate worlds collide. That's the essential dynamic of Éric Rohmer's A Tale of Springtime, the first in his quartet of Tales of the Four Seasons. Jeanne, who teaches philosophy, is several years older than Natacha, an aspiring pianist just emerging from her teens, so their relationship is something like older and younger sister. Soon, Jeanne will meet Natacha's divorced father, Igor (Hugues Quester), who is dating Ève (Eloïse Bennett), a woman Jeanne's age, who is also well-educated in philosophy. Jeanne soon realizes that she's being set up by Natacha as a rival for Ève, whom Natacha dislikes, in her father's affections. It's the kind of situation that Jane Austen would have enjoyed playing with, and Rohmer's delight in it is apparent. He has a talented cast, a lovely springtime setting, and well-chosen music -- ranging from the melancholy of Schumann's Études Symphoniques to the freshness of Beethoven's "Spring" Sonata  -- to work with, and he makes the most of it.