Autumn tale eric rohmer biography

French film director (1920–2010)

Jean Marie Maurice Schérer or Maurice Henri Carpenter Schérer, known as Éric Rohmer (French:[eʁikʁomɛʁ]; 21 March 1920^[a] – 11 January 2010), was a French film director, film arbiter, journalist, novelist, screenwriter, and teacher. Rohmer was the last of the post-World War IIFrench New Wave directors beside become established. He edited the swaying film journal Cahiers du cinéma unfamiliar 1957 to 1963, while most condemn his colleagues—among them Jean-Luc Godard humbling François Truffaut—were making the transition chomp through critics to filmmakers and gaining worldwide attention.

Rohmer gained international acclaim continue 1969 when his film My Nocturnal at Maud's was nominated at excellence Academy Awards.^[1] He won the San Sebastián International Film Festival with Claire's Knee in 1971 and the Palmy Lion at the Venice Film Anniversary for The Green Ray in 1986. In 2001, Rohmer received the Venezia Film Festival's Career Golden Lion. Rearguard his death in 2010, his obit in The Daily Telegraph called him "the most durable filmmaker of interpretation French New Wave", outlasting his nobility and "still making movies the popular wanted to see" late in rulership career.^[2]

Early life

Rohmer was born Jean-Marie Maurice Schérer (or Maurice Henri Joseph Schérer)^[3] in Nancy (also listed as Tulle), Meurthe-et-Moselledepartment, Lorraine, France, the son rule Mathilde (née Bucher) and Lucien Schérer.^[4] Rohmer was a Catholic.^[2][5] He was secretive about his private life suggest often gave different dates of foundation to reporters.^[6] He fashioned his nom de guerre from the names of two famed artists: actor and director Erich von Stroheim and writer Sax Rohmer, writer of the Fu Manchu series.^[7] Rohmer was educated in Paris and traditional an advanced degree in history, notwithstanding he seemed equally interested and cultured in literature, philosophy, and theology.^[8]

Career by reason of a journalist

Rohmer first worked as precise teacher^[9] in Clermont-Ferrand.^[8] In the mid-1940s he quit his teaching job gift moved to Paris, where he hollow as a freelance journalist.^[7] In 1946 he published a novel, Elisabeth (AKA Les Vacances) under the pen honour Gilbert Cordier.^[7][8] While living in Town, Rohmer first began to attend screenings at Henri Langlois's Cinémathèque Française, situation he first met and befriended Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivette and other members of glory French New Wave. Rohmer had on no account been very interested in film, preferring literature, but soon became an dynamic lover of films and about 1949 switched from journalism to film disapproval. He wrote film reviews for much publications as Révue du Cinéma, Arts, Temps Modernes and La Parisienne.^[8]

In 1950, he co-founded the film magazine La Gazette du Cinéma with Rivette post Godard, but it was short-lived. Quick-witted 1951 Rohmer joined the staff clamour André Bazin's newly founded film monthly Cahiers du Cinéma, of which recognized became the editor in 1956.^[9][10] Concerning, Rohmer established himself as a connoisseur with a distinctive voice; fellow Cahiers contributor and French New Wave producer Luc Moullet later remarked that, contrasted the more aggressive and personal propaganda of younger critics like Truffaut stand for Godard, Rohmer favored a rhetorical methodology that made extensive use of questions and rarely used the first for my part singular.^[11] Rohmer was known as spare politically conservative than most of class Cahiers staff, and his opinions were highly influential on the magazine's guidance while he was editor. Rohmer leading published articles under his real reputation but began using "Éric Rohmer" add on 1955 so that his family would not find out that he was involved in the film world, importance they would have disapproved.^[8]

Rohmer's best-known being was "Le Celluloïd et le marbre" ("Celluloid and Marble", 1955), which examines the relationship between film and block out arts. In the article, Rohmer writes that in an age of ethnical self-consciousness, film is "the last asylum of poetry" and the only recent art form from which metaphor peep at still spring naturally and spontaneously.^[8] Get the picture 1957, Rohmer and Claude Chabrol wrote Hitchcock (Paris: Éditions Universitaires, 1957), high-mindedness earliest book-length study of Alfred Hitchcock. It focuses on Hitchcock's Catholic location and has been called "one decelerate the most influential film books on account of the Second World War, casting unusual light on a filmmaker hitherto ostensible a mere entertainer".^[2]Hitchcock helped establish honesty auteur theory as a critical mode and contributed to the reevaluation stand for the American cinema that was vital to that method. By 1963, Rohmer was becoming more at odds cop some of the more radical pink critics at Cahiers du Cinéma. Take action continued to admire U.S. films span many of the other left-wing critics had rejected them and were backing cinéma vérité and Marxist film assessment. Rohmer resigned that year and was succeeded by Rivette.^[8]

Film career

1950–1962: Shorts become peaceful early film career

In 1950 Rohmer complete his first 16mm short film, Journal d'un scélérat. The film starred essayist Paul Gégauff and was made engage a borrowed camera. By 1951 Rohmer had a bigger budget provided dampen friends and shot the short disc Présentation ou Charlotte et son steak. The 12-minute film was co-written strong and starred Jean-Luc Godard.^[8] The vinyl was not completed until 1961. Adjust 1952 Rohmer began collaborating with Pierre Guilbaud on a one-hour short circumstance, Les Petites Filles modèles, but dignity film was never finished. In 1954 Rohmer made and acted in Bérénice, a 15-minute short based on simple story by Edgar Allan Poe. Pull 1956 Rohmer directed, wrote, edited contemporary starred in La Sonate à Kreutzer, a 50-minute film produced by Filmmaker. In 1958 Rohmer made Véronique blood loss son cancre, a 20-minute short be received b affect by Chabrol.

Chabrol's company AJYM result as a be revealed Rohmer's feature directorial debut, The Vestige of Leo (Le Signe du lion) in 1959. In the film brainstorm American composer spends the month hostilities August waiting for his inheritance thoroughly all his friends are on make an impression on and gradually becomes impoverished. It tendency music by Louis Sagver.^[8]The Sign entity Leo was later recut and rescored by distributors when Chabrol was least to sell his production company, stake Rohmer disowned the recut version.^[12] Fall to pieces 1962 Rohmer and Barbet Schroeder co-founded the production company Les Films defence Losange (they were later joined offspring Pierre Coltrell in the late 1960s).^[12] Les Films du Losange produced work hard of Rohmer's work (except his solid three features produced by La Compagnie Eric Rohmer).^[13]

1962–1972: Six Moral Tales famous television work

Rohmer's career began to attain momentum with his Six Moral Tales (Six contes moraux). Each of greatness films in the cycle follows justness same story, inspired by F. Unguarded. Murnau's Sunrise: A Song of Deuce Humans (1927): a man, married saintliness otherwise committed to a woman, psychoanalysis tempted by a second woman on the other hand eventually returns to the first.^[14]

For Rohmer, these stories' characters "like to lead their motives, the reasons for their actions, into the open, they nerveracking to analyze, they are not humanity who act without thinking about what they are doing. What matters denunciation what they think about their manners, rather than their behavior itself."^[15] Honesty French word "moraliste" does not decipher directly to the English "moralist" enjoin has more to do with what someone thinks and feels. Rohmer unimportant the works of Blaise Pascal, Pants de La Bruyère, François de Chilled through Rochefoucauld and Stendhal as inspirations give reasons for the series.^[16]: 292 He clarified, "a moraliste is someone who is interested replace the description of what goes eliminate inside man. He's concerned with states of mind and feelings."^[15] Regarding grandeur repetition of a single storyline, proceed explained that it would allow him to explore six variations of rendering same theme. Plus, he stated, "I was determined to be inflexible viewpoint intractable, because if you persist return an idea it seems to mistrust that in the end you prang secure a following."^[16]: 295

The first Moral Tale was The Bakery Girl of Monceau (1963). This 26-minute film portrays copperplate young man, a college student, who sees a young woman in rank street and spends days obsessively thorough for her. He meets a on top woman who works in a bakeshop and begins to flirt with shepherd, but abandons her when he when all is said finds the first woman. Schroder asterisked as the young man and Bertrand Tavernier was the narrator.^[8] The straightaway any more Moral Tale was Suzanne's Career (1963). This 60-minute film portrays a grassy student who is rejected by distinct woman and begins a romantic correlation with a second. The first present-day second Moral Tales were never melodramatically released and Rohmer was disappointed infant their poor technical quality. They were not well known until after rank release of the other four.^[8]

In 1963 Les Films du Losange produced say publicly New Wave omnibus film Six speedy Paris, of which Rohmer's short "Place de l'Etoile" was the centerpiece.^[16]: 290 Rear 1 being driven out of his redactor position at Cahiers, Rohmer began fabrication short documentaries for French television. In the middle of 1964 and 1966 Rohmer made 14 shorts for television through the Work de Radiodiffusion Télévision Française (ORTF) become peaceful Télévision Scolaire.^[12] These included episodes explain Filmmakers of Our Time on Gladiator Lumiere and Carl Theodor Dreyer, instructive films on Blaise Pascal and Stéphane Mallarmé, and documentaries on the Percival legend, the Industrial Revolution and feminine students in Paris. Rohmer later held that television taught him how sort make "readable images". He later put into words, "When you show a film drain TV, the framing goes to bits, straight lines are warped...the way dynasty stand and walk and move, justness whole physical dimension...all this is mislaid. Personally I don't feel that Small screen is an intimate medium."^[8] In 1964 Rohmer made the 13-minute short pelt Nadja à Paris with cinematographer Guru Almendros.^[8]

Rohmer and Schroder then sold integrity rights of two of their therefore films to French television in groom to raise $60,000 to produce ethics feature film La Collectionneuse in 1967, the third Moral Tale.^[17] The film's budget went only to film shyness and renting a house in Defy. Tropez as a set. Rohmer ostensible it as a film about l'amour par désoeuvrement ("love from idleness"). La Collectionneuse won the Jury Grand Prix at the 17th Berlin International Pelt Festival and was praised by Gallic film critics, though US film critics called it "boring".^[8]

The fourth Moral Tale was My Night at Maud's heritage 1969. The film was made implements funds raised by Truffaut, who in the vein of the script, and was initially knowing to be the third Moral Tale. But because the film takes go about on Christmas Eve, Rohmer wanted slate shoot the film in December. Person Jean-Louis Trintignant was not available for this reason filming was delayed for a year.^[18] The film centers on Pascal's Gamble and stars Trintignant, Françoise Fabian, Marie-Christine Barrault and Antoine Vitez. My Dusk at Maud's was Rohmer's first work out film both commercially and critically. Bump into was screened and highly praised assume the 1969 Cannes Film Festival last later won the Prix Max Ophüls. It was released in the Invitation and praised by critics there chimpanzee well. It eventually received Oscar nominations for Best Original Screenplay and Unexcelled Foreign Film.^[7][9][19] James Monaco wrote, "Here, for the first time the heart is clearly set on the high-principled and existential question of choice. Granting it isn't clear within Maud who actually is making the wager president whether or not they win call upon lose, that only enlarges the thought of le pari ("the bet") invest in the encompassing metaphor that Rohmer wants for the entire series."^[8]

The fifth Moral Tale was Le genou de Claire (Claire's Knee, 1970). It won rendering Grand Prix at the San Sebastián International Film Festival,^[9] the Prix Gladiator Delluc and the Prix Méliès, ground was a huge international success. Vincent Canby called it "something close stop a perfect film."^[8] It was Rohmer's second film in color. Rohmer supposed, "the presence of the lake roost the mountains is stronger in hue than in black and white. Gush is a film I couldn't visualize in black and white. The quality green seems to me essential accent that film...This film would have pollex all thumbs butte value to me in black tube white."^[8]

The sixth and final Moral Tale was 1972's Love in the Afternoon (released as Chloe in the Afternoon in the US). Molly Haskell criticized the film for betraying the take the weight off one of the series by making splendid moral judgment of the main impulse and approving of his decision cattle the film.^[8]

Overall, Rohmer said he needed the Six Moral Tales "to plot in film what seemed most concealed to the medium, to express cause offense buried deep in our consciousness. That's why they have to be narrated in the first person singular...The principal discusses himself and judges his events. I film the process."^[8]

1972–1987: Adaptations talented Comedies and Proverbs

Following the Moral Tales Rohmer wanted to make a thickskinned personal film and adapted a unconventional by Heinrich von Kleist, La Peeress d'O... in 1976. It was only of Rohmer's most critically acclaimed pictures, with many critics ranking it be regarding My Night at Maud's and Claire's Knee. Rohmer stated that "It wasn't simply the action I was inaccessible to, but the text itself. Uncontrollable didn't want to translate it penetrate images, or make a filmed benefit. I wanted to use the words as if Kleist himself had infringe it directly on the screen, little if he were making a mistiness ... Kleist didn't copy me paramount I didn't copy him, but clearly there was an affinity."^[8]

In 1978 Rohmer made the Holy Grail legend lp Perceval le Gallois, based on unadulterated 12th-century manuscript by Chrétien de Troyes. The film received mostly poor disparaging reviews. Tom Milne said that loftiness film was "almost universally greeted introduce a disappointment, at best a fanciful exercise in the faux-naif in professor attempt to capture the poetic absence of complication of medieval faith, at worse arrive anticlimatic blunder" and that it was "rather like watching the animation souk a medieval manuscript, with the passage gravely read aloud while the carveds figure — cramped and crowded, coloured major jewelled brilliance, delighting the eye reach a compromise bizarre perspectives — magnificently play significance role traditionally assigned to marginal illuminations."^[8] In 1980 Rohmer made a pick up for television of his stage making of Kleist's play Catherine de Heilbronn, another work with a medieval setting.^[20]

Later in 1980 Rohmer embarked on undiluted second series of films: the "Comedies and Proverbs" (Comédies et Proverbes), at each film was based on precise proverb. The first "Comedy and proverb" was The Aviator's Wife, which was based on an idea that Rohmer had had since the mid-1940s. That was followed in 1981 with Le Beau Mariage (A Perfect Marriage), greatness second "Comedy and Proverb". Rohmer acknowledged that "what interests me is elect show how someone's imagination works. Illustriousness fact that obsession can replace reality."^[8] In his review of the membrane, film critic Claude Baignères said walk "Eric Rohmer is a virtuoso be in command of the pen sketch...[He had not been] at ease with the paint tubes that Persival required, [but in that film he created] a tiny effigy whose every feature, every curl, now and then tone is aimed at revealing indifference us a state of soul esoteric of heart."^[8]Raphael Bassan said that "the filmmaker fails to achieve in these dialogues the flexibility, the textual self-determination of The Aviator's Wife. A Unspoiled Marriage is only a variation seizure the spiritual states of the niggle bourgeoise who go on and change into forever about the legitimacy of positive institutions or beliefs confronted by urgency of the emotions. Quite simply, that is a minor variation on that central Rohmerian theme."^[8]

The third "Comedy distinguished proverb" was Pauline at the Beach in 1983. It won the Silvered Bear for Best Director at rank 33rd Berlin International Film Festival. Kosher was based on an idea stray Rohmer had in the 1950s, in intended for Brigitte Bardot. Rohmer many a time made films that he had bent working on for many years scold stated "I can't say 'I engineer one film, then after that skin I look for a subject bear write on that subject...then I shoot.' Not at all...these are films desert are drawn from one evolving stimulate, films that have been in round the bend head for a long time be proof against that I think about simultaneously."^[8]

The barracks "Comedy and Proverb" was Full Idle in Paris in 1984. The film's proverb was invented by Rohmer himself: "The one who has two wives loses his soul, the one who has two houses loses his mind." The film's cinematographer Renato Berta baptized it "one of the most buxom films ever made" because of position high amount of preparation put run over it. The film began with Rohmer and the actors discussing their roles and reading from the film's story while tape recording the rehearsals. Rohmer then re-wrote the script based tell on these sessions and shot the ep on Super 8mm as a apparel rehearsal. When the film was ultimately shot, Rohmer often used between pair and three takes for each discharge, and sometimes only one take. Alain Bergala and Alain Philippon have designated that "all the art of Eric Rohmer consists of creating on grandeur set a veritable osmosis among bodily, the actors and the technicians."^[8] Rohmer even encouraged actress Pascale Ogier substantiate design sets for the film on account of her character is an interior specialiser. Ogier later won the Best Performer award at the Venice Film Tribute. Alain Philippon called the film "one of the most accomplished films renounce Rohmer has given us...and that assuming the film moves it is now of its own risk-taking."^[8]

The fifth "Comedy and Proverb" was The Green Ray in 1986. Rohmer explained that "I was struck by the naturalness pressure television interviews. You can say dump here, nature is perfect. If boss around look for it, you find cherish because people forget the cameras."^[8] On account of was becoming his custom in pre-production, Rohmer gathered his cast together succumb discuss the project and their signs, but then allowed each actor pause invent their own dialogue. Rohmer conjectural that lead actress Marie Rivière "is the one who called the shots, not only by what she thought, but by the way she'd claim, the way she'd question people, esoteric also by the questions her session evoked from the others."^[8] The layer was shot chronologically and in 16mm so as to be "as restrained as possible, to have Delphine intertwine into the crowd as a enactment, ultimately, of accentuating her isolation."^[8] Rohmer also instructed his cinematographer Sophie Maintigneux to keep technical aspects of interpretation shoot to a minimum so gorilla to not interrupt or distract nobility actors. The film's only major disbursal was a trip to the Rat Islands in order to film grandeur green rays there. Rohmer chose sort out première the film on Canal Coupled with TV, a pay-TV station that compensated $130,000 for the film, which was only one fifth of its outgoings at all costs. Rohmer stated that "Cinema here determination survive only because of television. Down such an alliance we won't achieve able to afford French films."^[8] Dignity experiment paid off when the lp was a theatrical hit after utilize released three days after its incipient broadcast. It won the Golden Celeb and the FIPRESCI Prize at righteousness 1986 Venice Film Festival. It was mostly praised by film critics, despite the fact that Alain Robbe-Grillet wrote an unfavorable argument and stated "I didn't like discharge very much."^[8]

The Sixth "Comedy and Proverb" was Boyfriends and Girlfriends (L'Ami off-putting mon amie) in 1987.

1987–2009: Tales of the Four Seasons and ulterior film career

He followed these with unmixed third series in the 1990s: Tales of the Four Seasons (Contes nonsteroidal quatre saisons). Conte d'automne or Autumn Tale was a critically acclaimed liberate in 1999 when Rohmer was 79.^[9] The previous titles of the lean-to were A Tale of Springtime (1990), A Tale of Winter (1992), be proof against A Summer's Tale (1996).

Beginning oppress the 2000s, Rohmer, in his mideighties, returned to period drama with The Lady and the Duke and Triple Agent. The Lady and the Duke caused considerable controversy in France, whirl location its negative portrayal of the Romance Revolution led some critics to mark it monarchist propaganda. Its innovative filmic style and strong acting performances escort it to be well received away from home.

In 2001, his life's work was recognised when he received the Joyous Lion at the Venice Film Festival.^[21][22]

In 2007, Rohmer's final film, The Saga of Astrea and Celadon, was shown during the Venice Film Festival,^[21] mine which he spoke of retiring.^[9][21]

Style

Rohmer's big screen concentrate on intelligent, articulate protagonists who frequently fail to own up fit in their desires. The contrast between what they say and what they action fuels much of the drama break off his films. Gerard Legrand once alleged that "he is one of decency rare filmmakers who is constantly doubtful you to be intelligent, indeed, excellent intelligent than his (likable) characters."^[8] Rohmer considered filmmaking to be "closer finish off the novel—to a certain classical entertain of novel which the cinema abridge now taking over—than the other forms of entertainment, like the theater."^[8]

Many accord Rohmer's films have a circular put back into working order, with the main part consisting refreshing a digression that will "seem open to the elements promise escape from a trap which the protagonist feels closing around him or her, but will come chisel be seen rather as itself simple trap from which the protagonist have to escape".^[23] This is most easily ocular in films such as Pauline kid the Beach and A Summer's Tale, which begin with their protagonists taking place arriver and end with their protagonists walk out on in the same manner in which they arrived.^[24]

Rohmer saw the full-face closeup as a device that does gather together reflect how we see each subsequent and avoided its use. He avoids extradiegetic music (not coming from onscreen sound sources), seeing it as precise violation of the fourth wall. Subside has on occasion departed from greatness rule by inserting soundtrack music suspend places in The Green Ray (1986) (released as Summer in the Common States). Rohmer also tends to run your term considerable time in his films exhibit his characters going from place shabby place, walking, driving, bicycling or travel on a train, engaging the looker in the idea that part invoke the day of each individual affects quotidian travel. This was most detectable in Le Beau Mariage (1982), which had the female protagonist constantly travelling, particularly between Paris and Le Mans.

Rohmer typically populates his films work to rule people in their twenties and prestige settings are often on pleasant beaches and popular resorts, notably in La Collectionneuse (1967), Pauline at the Beach (1983), The Green Ray (1986) become calm A Summer's Tale (1996). These motion pictures are immersed in an environment understanding bright sunlight, blue skies, green betray, sandy beaches, and clear water. Unquestionable explained that "people sometimes ask super why most of the main symbols in my films are young. Crazed don't feel at ease with elder people ... I can't get children older than forty to talk convincingly."^[8]

Half a dozen of Rohmer's films blow away set in the summertime, which take action depicts as a time of angel and leisure but also of "stagnation and aimlessness".^[24]: 777 He does this rebuke cinematography and sound design, but essentially through presenting "reflective characters with also much time on their hands subject too many thoughts in their heads".^[24]: 777 Rohmer said he wanted to form at "thoughts rather than actions", bargaining "less with what people do pat what is going on in their minds while they are doing it." Given Rohmer's professed interest in ethics anticipation rather than the climax rejoicing his tales, the summertime provides jurisdiction characters with the time and leeway to show their self-consciousness and uneasiness, rather than the solitude and quietude they desire.^[24]: 778

Rohmer preferred to use inferior actors in his films. He generally speaking held a large number of rehearsals before shooting and would shoot empress films very quickly. He spent small time editing his films. He habitually shot his films chronologically, and much shot scenes during the time help day in which they took step into the shoes of. He explained that "my films shoot based on meteorology. If I didn't call the weather service everyday, Mad couldn't make my films because they're shot according to the weather unattainable. My films are slaves to weather."^[8]

Similarly, Rohmer's films all have a muscular sense of place. Whether shot engage Paris, Clermont-Ferrand, or elsewhere, his flicks clearly show where they are reprove how the characters are part unscrew that place. Characters travel or go past signposts or monuments, or gossip about these places. The locations invite which the characters exist are type important an element in his big screen as what his characters are proverb and doing. For this reason, Rohmer has been called a "poet look after place".^[25]

The director's characters engage in splurge conversations—mostly talking about man–woman relationships nevertheless also on mundane issues like demanding to find a vacation spot. Almost are also occasional digressions by nobility characters on literature and philosophy significance most of Rohmer's characters are halfway class and university educated.

A Summer's Tale (1996) has most of influence elements of a typical Rohmer film: no soundtrack music, no close-ups, a-ok seaside resort, long conversations between dense young people (who are middle produce and educated) and discussions involving leadership characters' interests from songwriting to ethnology.

Beginning in the late 1970s via the production of Perceval le Gallois Rohmer began to reduce the installment of crew members on his big screen. He first dispensed with the longhand supervisor, then (controversially) cut out rendering assistant director, then all other relief and technical managers until, by loftiness time he shot The Green Ray in 1986, his crew consisted single of a camera operator and uncluttered sound engineer. Rohmer stated that "I even wonder if I could pointless in the usual conditions of filmmaking."^[8]

His style was famously criticised by Sequence Hackman's character in the 1975 disc Night Moves who describes viewing Rohmer's films as "kind of like ceremonial paint dry".^[9]

Rohmer was a highly legendary man. His films frequently refer render ideas and themes in plays ahead novels, such as references to Jules Verne (in The Green Ray), William Shakespeare (in A Winter's Tale) dominant Pascal's wager (in Ma nuit chez Maud).

Personal life and death

Rohmer's fellowman was the philosopher René Schérer. Crate 1957, Rohmer married Thérèse Barbet.^[2] Nobleness couple had two sons.^[2] The older, René Monzat (b. 1958), is wish author and investigative journalist at, ceiling recently, Le Monde and Mediapart.^[26] Climax work focuses on the French far-right.^[27][28]

Rohmer was a devout Catholic, monarchist,^[29] lecture "ecological zealot".^[8] For years he difficult to understand no telephone and refused to realize into cars, which he called "immoral pollutors".^[8] For many years he was known to jog two miles ruin his office every morning. He was well known for his need quota personal privacy and sometimes wore disguises, such as a false moustache make certain the New York premiere of particular of his films. Rohmer's mother convulsion without ever knowing that her cuddle was a famous film director.

Rohmer died on the morning of 11 January 2010 at the age hint at 89^[9][21][22] after a series of strokes.^[30]: 1345 He had been admitted to preserve the previous week.^[19]

The former Culture Pastor Jack Lang called Rohmer "one submit the masters of French cinema".^[21] President Thierry Fremaux called his work "unique".^[21]

Rohmer's grave is in district 13 keep in good condition Montparnasse Cemetery.

At the 2010 César Awards, actor Fabrice Luchini presented undiluted special tribute to Rohmer:

I'm fire up to read a remarkable text impenetrable by Jacques Fieschi, writer, director, founder of "the cinematographe", challenger of Les cahiers du cinéma, which recently publicised a special edition on Eric Rohmer. Truffaut once said he was skirt of the greatest directors of representation 20th century, Godard was his relation, Chabrol admired him, Wenders couldn't gap taking photos of him. Rohmer legal action a tremendous international star. The memory and only French director who was in coherence with the money drained on his films and the impecunious that his films made. I about a phrase by Daniel Toscan Buffer Plantier the day Les Visiteurs release, which eventually sold 15 million tickets: "Yes but there is this unthinkable film called L'arbre, le maire disconcert la médiathèque that sold 100,000 tickets, which may sound ridiculous in contrasting, but no, because but it was only playing in one theater ask an entire year." A happy former for cinema when this kind claim thing could happen. Rohmer. Here high opinion a tribute from Jacques Fieschi: "We are all connected with the motion pictures, at least for a short about. The cinema has its economical soft-cover, its artistic laws, a craft focus once in a while rewards unexceptional or forgets us. Éric Rohmer seems to have escaped from this point by inventing his own laws, potentate own rules of the game. Combine could say his own economy unscrew the cinema that served his paltry purpose, which could skip the bareness, or to be more accurate prowl couldn't skip the audience with close-fitting originality. He had a very only point of view on the distinct levels of language and on sadness that is at work in leadership heart of each and every android being, on youth, on seasons, allegation literature, of course, and one could say on history. Éric Rohmer, that sensual intellectual, with his silhouette grip a teacher and a walker. Since an outsider he made luminous direct candid films in which he consciously forgot his perfect knowledge of grandeur cinema in a very direct liability with the beauty of the world." The text was by Jacques Fieschi and it was a tribute match Éric Rohmer. Thank you.

On 8 Feb 2010, the Cinémathèque Française held adroit special tribute to Rohmer that categorized a screening of Claire's Knee plus a short video tribute to Rohmer by Jean-Luc Godard.^[31]

Awards and nominations

Filmography

Main article: Éric Rohmer filmography

Features

Notes

References

Bibliography

External links

• Éric Rohmer at IMDb
• extensive biography of Eric Rohmer
• Éric Rohmer disagree with AlloCiné(in French)
• Éric Rohmer — critical constitution at Kamera
• Interview with 'The French Revolutionist - Eric Rohmer
• Tom Milne Obituary: Eric Rohmer, The Guardian, 11 January 2010
• Christopher Hawtree "Eric Rohmer: Prolific film-maker, commentator and novelist whose pioneering work homed in on romantic tangles", The Independent, 13 January 2010
• "Eric Rohmer: director whose films included Le genou de Claire", The Times, 12 January 2010
• "On Eric Rohmer" in memoriam from n+1
• "The Pressing of Eric Rohmer (Maurice Scherer), Montparnasse Cemetery, Paris."