The Collector

My least favorite of the Moral Tales. The male protagonists in the other films, although flawed and weaselly, had some kind of redeeming qualities. Adrien is just a lazy, narcissistic jerk and so is his friend Daniel. From the outset I didn't like either one of them, and I didn't really like Haydee either. These people were too shallow and delusional to spend time with. This could have been Rohmer's intention, but I felt like I had little emotional investment in the outcome.

The start of Rohmer's fascination with middle-class, pseudo-intellectual boring men. These men are scared of vibrant, intelligent challenging women and therefore go for younger more inexperienced girls.

Funny (and understandable) how men guard against a girl's sexual attraction with all the psychological and conceptual (ideological) tools they can find, which actually interestingly act as the detour of mutual attraction and seduction, and how they end up being drawn out of their withdrawal by this little game that who knows who starts and which always has a tint of monologue.

duygusal tansiyonu çok yüksek bir film. hatta bu açıdan My Night at Maud's'la pek benzeşiyorlar bence. -ki Six Moral Tales'in en iyi iki filmi bunlar bana göre.- dalgalı ve belirsiz ilişkileri yüksek bir hissiyatla anlatmakta, ve dahi bunu seyirciye aynı sıcaklıkla geçirmekte Eric Rohmer'in üstüne yok. film herkese dokunmayabilir ama beni yakaladı. tam anlamıyla "hissedebildim" yani. çok sevdim.

Hilarious film on the dandyism and self-absorption of Adrien; a charming French misogynist. I especially loved Sam's campy character; a spray-tanned Alpha 60-sounding art collector.

With unlikeable leads, this is a hard film to get emotionally invested in. The scenarios in the film were interesting as moral dilemmas and the film does capture a certain mood and lifestyle very well, but with it all being presented through characters I disliked, but didn't really hate, my interest wandered. I will say the ending went some wasys toward redeeming the picture.

Maybe it's just me, but I found this to be quite funny, increasingly so as the film goes on, and concluding with what is the funniest line of the entire movie. The comedy makes the whole thing work, as it brings a measure of joy to what is essentially a take-down of the insufferable Adrien. EDIT: Just read other reviews. It isn't just me...LOL

Can only conclude that this has aged badly as I love 1980s/1990s Rohmer. The female character may as well have been a cardboard cut-out for all the agency she is allowed to display. The male characters are tedious in the extreme.

A bourgeois tale of ego, manipulation and domination. Nice esthetics. But the main point is the wrongheadedness of the narrator. While in most movies, the narrator is almost omniscient, here he is just hobbling along, trying to rationalize the behaviors of others and his own. And fails at it. Maybe that's what Rohmer wants to point out, the way one can adapt their viewpoints to accommodate events, but still feel righteous about it.

Somewhere between the mysterious monologues and dialogues there is great depth and a profound meaning - but also a lot of fun and severe self-indulgence.

The most French film I've ever seen. Gorgeous and surprisingly deep for a movie. Excellent ending.

Like so many of Rohmer's movies, this centers around a young girl. Most of the movie is about the actions of the male characters, which are entirely about either (a) trying to loosen the babe's undergarments, or (b) their bitterness about the babe no longer allowing them access or their failure to get such access in the first place, although they voice a lot of elaborate rationales about why this isn't so. It's pretty goddamn funny throughout

What…was the point? No chemistry, no game, boring people living boring little lives.

While it's my least favorite of Rohmer's six Moral Tales, it's still worth seeing, albeit mostly for his striking compositions.

Adrien: Haydéeeeee Ben: Haydeeeeeee

Peacefulness is so elusive.

Rohmer understood quite a bit about male desire and the tendency men have to project it onto women, rationalise their feelings in entirely self serving ways and assume control when there is little or none. The narration is often obtrusive, but the shifting relationships and fine performances ensure that it's always interesting.

7?

'I see only serious people and do only serious things.'

The inner turmoil of trying to subdue our natural desires. Attraction kept simple and true to it's unfolding. Moments painted in these warm landscapes make some of these scenes so unforgettable.

Self-sabotage in self-justification. Rohmer is keen on exploring the failures of intellectualizing desire. This comedy of errors is preceded by some philosophizing on the burden of thinking and escaping to fiction, which I found hit particularly close to home.

Like the earlier Claire's Knee, this shares as many similarities and it does dissimilarities. There seems to be even more inner-monologues here, making this kind of (non-)seduction even more revealing, yet confusing. Most of these characters, though hardly likeable, are a blast to watch, particularly the moping ascetic Daniel. The moral here, although multi-varied, may be summed up eloquently as "thot, begone."

Jesus Fucking Christ. O Rohmer é uma espécie de especialista em macho chato do caralho (espero que ele não se identifique com eles, credo), mas uma vez que você consiga passar pelas suas insuportáveis personagens masculinas, você estará diante de um grande filme.

Viewed September 4, 2015. Maybe it's just the gorgeous color photography talking, but this feels like a snappier, more visually inventive Rohmer film than the ones that precede it. The content - a dubious love triangle, steeped in arrogance and resentment - is par for the course at this point, but I really enjoy entering into Rohmer's hyper-intelligent discourse on men, women and how shitty we all are.

Magnifique

a very slow and relaxed film about a man on a vacation, with excellent use of an unreliable narrator, which seems to be one of rohmer's specialties. wonderful scenic photography too.

Dudes are so bad at heterosexuality. I guess that's the discourse in any Rohmer film, but it's said most bluntly here.

Agustos 2013, Cesme &

watched: 2013, 2021

#880

Deliciously modern and disattached: it's a Pauline at the Beach with a Nouvelle Vague sensibility.

The last chapter of this won me over like few films ever have. Extraordinary, really, based on my initial impressions of these obnoxious and vapid people. I still think the camerawork is mainly dull and the actors don't give much, but the calculated text of Rohmer wins me over, as usual. Note to viewers - likable characters should not always be mandatory for a piece to work.

A lazy and narcissistic man attempts to rationalize his attraction to a younger woman. Rohmer really has a way with words, gradually revealing a character's true nature by allowing us to see through their petty exchanges. The narration lends it a literary quality, which successfully economizes a plot that goes through many motions. It has a soft, resigned tone, and even at just 87 minutes its pace is very patient. Beautiful countryside photography courtesy of Nestor Almendros.

The third of Rohmer's "Six Moral Tales" was made before both _My Night at Maud's_ and _Claire's Knee_.

836

Nice Movie

760

# 775