Richard Good
The films of Eric Rohmer were a beacon of hope for my young self.
My classmates chatted excitedly about films involving car chases and death. I was happy for them, but also worried that I was an alien born on the wrong planet. Then I came across Rohmer’s world, filled with characters nervously exploring their feelings and surroundings. I was no longer alone – and I suspect that in a sublminal way Ma nuit chez Maud, Pauline à la plage and L’Ami de mon amie were part of the reason I ended up making my life in France.
Rohmer died in 2010 and there’s little trace of his legacy in France now. He was always something of an outsider. His films were more successful in the United States, the UK and Japan than in his own country – and they rarely get a showing on mainstream television.
So the recent publication of Au travail avec Eric Rohmer by Victorien Daoût is an excellent opportunity for fans to reimmerse themselves in his work. It’s a collection of interviews with surviving collaborators on his films: actors and actresses, of course, but also camera crew, sound engineers and producers.
A striking takeawy is how privileged those who worked with Rohmer feel. Many describe the experience as a high point of their careers: they discovered a quality of intellectual honesty that they were unable to find again when they moved on to more commercial, industrial productions.
Rohmer would often film with a Super 8 camera. There were no caravans for the stars – more often than not, everyone would be lodged together in a rented building.
He gave scarcely any instructions to his actors and actresses and didn’t retake shots, unless there was a technical error. He trusted the performers to give their best on the first take – and this approach created a bond of mutual confidence.
Il y availt de la joie dans l’air, un grand plaisir de travailler dans un espace de foisonnement artistique. Sur le tournage, le côté petite roulotte nous donnait une grande proximité. On s’aperçoit que le cinéma peut être un jour une grande production et lendemain une équipe aussi réduite. Ce n’est pas grave, le plus important est le sujet du film et le sujet du film et la façon de la raconter.
François-Éric Gendron – Alexandre, L’Ami de mon amie (1987)
The films appear naturalistic – but that impression was the fruit of rigorous preparation. In the months prior to filming, Rohmer would invite his actors and actresses round for tea and talk to them about all manner of subjects. He’d then use his recordings of those conversations to write a script that was tailored to their language and personality. Many describe the ease with which they were able to play their roles – because they had the impression they were talking with their own voices.
On pourrait croire qu’un dialogue aussi subtil est difficile à dire, mais ce n’est pas du tout le cas. Au contraire, il est tellement bien écrit que d’une certaine façaon il n’y a qu’à le dire, alors qu’avec un dialogue basique et utilitaire, vous vous torturez pour essayer de trouver des intonations et les faire passer.
Marie-Christine Barrault – Françoise, Ma nuit chez Maud (1969)
Au travail avec Eric Rohmer is a thoroughly recommended read. The interview format means the French is accessible for learners – and it’s also good material for readling aloud. Rohmer’s films are available on streaming services and DVD. Ma nuit chez Maud or Conte d’été are recommended choices to start out with.
