A Good Marriage

In this movie Rohmer takes it upon himself to make light on the notion of marrying "above" oneself station in life. The courtship obviously fails because Sabine doesn't understand her station or "mileu" in french society. To talk of money is uncouth.Unlike her best friend Clarisse, who obviously comes from money an status and dabbles with her work, because she doesn't have to work for money but for aesthetic pleasure. At least this time there isn't a boring middle aged dude as a protagonist.

Estreava há 40 anos nos EUA. Me lembro do susto de encontrar para vender diversos títulos da Coleção Rohmer da Europa Filmes numa loja de conveniência na minha cidade que é um fim de mundo no interior de São Paulo, manja o último lugar que você encontraria filmes do Rohmer? Mas não tinha nenhum Raio Verde, embora sejam todos dos anos 80. Não gosto particularmente deste porque fica evidente que foi escrito por um macho chato do caralho como era o Rohmer, mas mesmo assim ele era dos meus favorito

Viewed August 17, 2021. A film about a woman determined to marry a man who has no interest in marrying her. The movie is basically built around the rhythms of Beatrice Romand's performance, its comedy informed by her unusually clipped and direct way of speaking - every sentence is a forthright declaration, even as her imagined future becomes more and more impossible to obtain.

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My least favorite of Rohmer's "Comedies et proverbs" -series. The film is too focused on Sabine's determination in crafting her own fate as she wishes (getting "the good marriage"); thus it gets a bit jarring and psychologically uninteresting. Still a nice film.

Not top-tier Rohmer, perhaps, but quintessential Comedies and Proverbs, which is to say still really good. The single-mindedness of the protagonist makes the film feel a bit more schematic and calculated than usual (which is something that's actually addressed directly in the dialogue), maybe closer to one of the earlier Moral Tales, which also makes Sabine seem a bit less complex than other Rohmer characters. Fortunately, as always Rohmer remains one of cinema's greatest ironists.

How girls really are.

I'm really hooked on Rohmer's style, even though most of his films don't work for me - too flat, analytical, absurd. But here it's different: relatable characters, themes that are spelled out in plain language, a sense of everyday beauty in the mise-en-scène. And the resolution isn't neat, but it says something true about infatuation.

The music choices are dreadful (though thankfully barely appear in the film), and a short party scene quite late in to the film is so unconvincing that it's almost funny. Other than that the film is good showing Rohmer's usual compassion towards his characters and love of dialogue, and Sabine is a very interesting character, but it all feels a tad rushed and not as insightful as his best films.

Rohmer can make even a capricious 25 year old with the mentality of a 13 year old interesting. Even though she's silly Sabine is sympathetic and watching the contrast between what she's says and does is great. That synthesizer music is horrible though.

Nice Movie

Looking rushed all the way through around an idea which leads to an obvious ending. Rohmer's characters are expected to be talkative but on this one our lead (which we can't even leave for a single second) is more of a stiff walkie talkie. Only music used thrice in the movie is an insult to any human being capable of hearing.