Eric Rohmer: faded green ray (11/01/2010)
00:51:54,447 - -> 00:52:22,267
Without even meaning to,
she made fun of me. This girl, who only
had come to feel over the years a kind of compassion
embarrassed
we had anticipated them at the finish line. We made it look a
children. And we were. Guilty or not, innocent or cunning,
after all, what matter? To deprive of the right
pity, Suzanne
had secured a real vengeance.
Without even meaning to,
she made fun of me. This girl, who only
had come to feel over the years a kind of compassion
embarrassed
we had anticipated them at the finish line. We made it look a
children. And we were. Guilty or not, innocent or cunning,
after all, what matter? To deprive of the right
pity, Suzanne
had secured a real vengeance.
Est Mort. Mort. Mort. Although no one agrees as to write about what he has no interest rather than their heads, has nothing of interest beyond her memories. Mort. Mort. Mort. If you persist in loving those who have stopped loving him and despise those who believe love him is his business and nobody else. Est Mort. Mort. Mort. The director of the words, the taxidermist of human relations, put it more like the label, and not forgetting to mention the nouvelle vague , cinema prêt-à-porter how well dressed when experiencing a first stage of danger. Where do we extracted the belief that he was immortal? It is now, yes, but that did not stop the coup is old news, derramásemos some tears and days are tinged with a poignant melancholy ... in the evocation d and the days when his hand guided us from a web of deceptions and illusions and deceptions eternally young, as this humanist of 89 years of a different wave, ever so discreetly and so little lover of the eccentricities of some of his colleagues at Cahiers . Forever Young, as we were leaving for an appointment on Méliès with Jean-Louis Trintignant, Françoise Fabian, in late September, five years ago, with all its verbosity hanging without confronting equations, and also more redneck lad but after the siren song of Haydée Politoff or looking for Amanda Langlet between summer a few pages with no hint of sparkle to confuse.
Stories and dialogues stations where their characters often entangled in words, hide behind them, are confused in them, contradict their feelings because of them and they are projected onto random subject and victims of appearances. Perpetual uncertainty, doubt, vulnerability, curiosity, all filmed at the height of the eyes of the characters and with natural light, with a restrained budget that guaranteed his creative independence. Rohmer stood by the boldness of his proposals, his integrity until the last breath and even recklessness, all obligations of any self-respecting culture. If he, a man of letters, put the word in the center of the narrative, this should not tarnish his acute powers of observation of lightness and human gravity, that under an austere presentation and without major artifacts reveal the unfathomable complexity of human relations, contradictions and, above all, its unhealthy complacency. There are three cycles, cyclical in themselves, almost always filmed on the same assumptions about their actions and epilogues, comedy and proverbs plagued by a maddening logorrhea for many, far from the opinion of the modern look without losing a shred of modernity. Jansenist and nothing complacent, no hurry to enlighten others that fit with clumsiness. And what of your ear! In conclusion Le rayon vert lacked only the beam, the real optical phenomenon so rare: according to legend a the Magic in which two people find love at the same time, the real myth. No gimmicks, invested more money in your search for the rest of the shooting until captured (Las Palmas de Gran Canaria) the unusual time. Est Mort. Mort. Mort. Rohmer does not leave us empty-handed, also has most precious. Eric, à très bientôt.
Stories and dialogues stations where their characters often entangled in words, hide behind them, are confused in them, contradict their feelings because of them and they are projected onto random subject and victims of appearances. Perpetual uncertainty, doubt, vulnerability, curiosity, all filmed at the height of the eyes of the characters and with natural light, with a restrained budget that guaranteed his creative independence. Rohmer stood by the boldness of his proposals, his integrity until the last breath and even recklessness, all obligations of any self-respecting culture. If he, a man of letters, put the word in the center of the narrative, this should not tarnish his acute powers of observation of lightness and human gravity, that under an austere presentation and without major artifacts reveal the unfathomable complexity of human relations, contradictions and, above all, its unhealthy complacency. There are three cycles, cyclical in themselves, almost always filmed on the same assumptions about their actions and epilogues, comedy and proverbs plagued by a maddening logorrhea for many, far from the opinion of the modern look without losing a shred of modernity. Jansenist and nothing complacent, no hurry to enlighten others that fit with clumsiness. And what of your ear! In conclusion Le rayon vert lacked only the beam, the real optical phenomenon so rare: according to legend a the Magic in which two people find love at the same time, the real myth. No gimmicks, invested more money in your search for the rest of the shooting until captured (Las Palmas de Gran Canaria) the unusual time. Est Mort. Mort. Mort. Rohmer does not leave us empty-handed, also has most precious. Eric, à très bientôt. 
Ah! That le temps vienne
Où les coeurs
s'éprennent
Rimbaud Où les coeurs
s'éprennent
