Suzanne's Career

Seems to be from here on that Rohmer started to have female characters with more subtlety in their sexuality.

Rohmer's Shadows, in that it's a jazzier, breezier, and smaller sample of what the director would investigate more deeply later on. Suzanne herself is kind of slight, but that's perfect because we see things through Bertrand's eyes and he can only see women in relation to himself. If only Spike Jonze would be this reflective and critical of his sadboyness... http://cinematalk.wordpress.com/2014/04/02/la-carriere-de-suzanne-suzannes-career-1963/

Is it crazy that this is my favorite Rohmer film? Probably because the Nouvelle Vague vibe is actually palpable in this one and everyone is dressed amazingly, but also Bertrand is like the original (?) cinematic "nice guy" beta male misogynist which is unfortunately something i can kind of relate to. Beyond that, basically everything about this still feels super relevant (and indie kids are still trying to dress like everyone in this movie).

Rohmer's psychological acuity shows through clearly, despite some rather primitive production qualities, in this early, concise work.

Rohmer tackles the delicate balance between friends and significant others. It's put together somewhat sloppily, but the dynamic between the three main characters is interesting and unconventional, riddled with apprehension and malevolence.

Rohmer's psychological acuity is on display here, each of these three main characters fully formed. The drama resides in the shifts that take place via Bertrand's perspective--pitying Suzanne to hating her to recognizing his own "low-road" ways throughout the entire drama.

Almost on par with the first of Rohmer's Moral Tales but my top 3 would be 1. Love in the Afternoon, 2. Claire's Knee and 3. My Night at Maud's.

Masum veya suçlu, saf veya kurnaz ne fark ederdi ki? Ona acıma hakkından beni yoksun bırakarak Suzanne gerçek intikamını almıştı.

7?????…

My least favourite of the 6 so far (one more to go) and it is largely because of the lack of passionate moments which bring the later tales to life. This, a quick and cold examination on male projection which overarching themes seemed to be better developed in "The Collector".

I couldn't really get into this one and I found myself slightly annoyed with the near constant inner monologue.

Caused me to think very intently about my romantic interests, but I think that was mostly because it failed to truly draw me into its own cynical and ugly love triangle. Thematically, it is similar to The Bakery Girl of Monceau, but I found that one to be more thought-provoking and emotionally powerful, despite its shorter running time. This is still quite good, but didn't leave me stunned the way the previous film did.

very good. it's interesting to compare the narrator's subjective thoughts to the actual events (or our perception of them) happening on screen. some fairly unconventional but nonetheless realistic and intriguing character arcs.

watched: 2013, 2021

18 Kasim 12 & Ahlak insanin kendisine dair bir sey midir yoksa cevresi ile olan etkilesimine dair midir? Dongusel iliskiler icerisinde kivranan, yolunu bulmaya calisan, ne istedigini bilmeyen ve belki de ancak bu belirsiz yollardan gecerek 'moral'ini insaa edebilecek, buyuyecek insanoglunun hikayesi. Filmin sevemedigim onemli bir noktasi; kurulugu. Bu kuruluk Rohmer'in amacladigi bir sey miydi yoksa O'nun o donem sinemaya pratik olarak yetkin olmamasindan mi kaynaklaniyordu?

Nice Movie

Gross and unpleasant, but worst of all it was boring.

Playing off a similar motif as Bakery Girl, but more complex and developed. Again, the moral ambiguity is intriguing, and the literary feel of the piece is palpable. It's interesting that Neil Labute does an interview for this box set, because In the Company of Men definitely came to mind.

Not much point.

Some of the technical aspects are imperfect, but once you get past them there's a wonderful little film with superb characters and dialogue.