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The Eric Rohmer Collection (Le Signe du Lion, Le Baoulangere de Monceau, La Carriere de Suzanne) [DVD] 
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One of the leading figures of the French nouvelle vague and a contemporary of Jean-Luc Godard, Francois Truffaut and Louis Malle, veteran filmmaker Eric Rohmer is firmly established as one of world cinema s greatest and most enduring directors. Le Signe du Lion (The Sign of Leo) Rohmer's debut feature tells the cautionary tale of a Paris-based American, born under the sign of Leo and confident that luck is on his side. In anticipation of an inheritance from a recently deceased aunt, he freely wracks up debts only to find himself in dire straits when his windfall fails to materialise. Two Moral Tales: La Boulangere de Monceau (The Girl at the Monceau Bakery) Rohmer's international reputation was made by the 'Moral Tales', an ambitious series of six films around a common theme. Filmmaker Bertrand Tavernier narrates the first, 'La Boulangere de Monceau', a charming short shot on the streets of Paris in Rohmer's trademark naturalistic style. Barbet Schroeder plays a young man whose affections are divided between two beautiful girls - one he meets on the street and another who works in a local bakery but finds himself faced with the dilemma of choosing between them. La Carriere de Suzanne (Suzanne's Career) In Rohmer's tale of adolescent naiveté, Bertrand, a shy and reserved student, finds himself consumed with jealousy and resentment as he observes his roguishly confident best friend Guillaume exploit the generosity of the sweetly seductive Suzanne.
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My favourite from this selection is probably the shortest of the three films, 'La Boulangere de Monceau (The Girl at the Monceau Bakery)', which presents a typical moral and amorous dilemma which Rohmer revisits many times later in films such as 'A Summer's Tale'. A man in love with more than one woman has to make a choice - but will his eventual love be interested in him? The themes are simple and timeless and in this little gem, about half an hour long, the atmosphere of the streets of Paris in the early 60s is used to great use.
If you're a fan of early French New Wave films by Godard, Truffaut and the like, you should give this a go. Anyone who has enjoyed Rohmer's later work ('Tales of the Four Seasons', 'Claire's Knee' etc) will also find a lot to enjoy. The prints of each film are very watchable given their age, and the extras, although not hugely generous, are informative too.
La Boulanger de Monceau and La Carriere de Suzanne are the first two of his Moral Tales. Both have already the same theme as the rest of those tales. To put it shortly: man falls in love with a girl, then loses her, finds a new girl, but finally meets the first girl again and leaves the second. Carriere de Suzanne is a little bit more complicated than the first tale, because there are two men involved and it can be seen as some kind of triangle.
The other two features are both shorter, but given weight by being the first two of the Six Contes Moraux. Slighter than the more famous ones that followed, they are curiously memorable, no doubt for their truth, although the male perspectives through which they are filtered are less engaging than in many of his later films. La Carriere de Suzanne struck me as the better of the two, getting a lot of detail into its 54 minutes. The two young men are both very good-looking but fall rather short as human beings; however Suzanne herself starts to seem more and more appealing as it goes on, leading me to believe in her innocence in a misdemeanour set up with typical Rohmer subtlety towards the end ... You can only hope these boys will improve with age, but in the end the flaws shown are all those one sees in human nature all the time, not to be blamed on Rohmer, whose art shows them so deftly. Somehow in his later films he often manages to show these things while allowing engaging characters to fill the foreground more. The start of this, for me, is L'Amour, l'apres-midi - the sixth of the Contes Moraux - where the male lead is likeable, in spite of being prey to all the temptations. He embodies the dilemma fully, and from the male perspective (in later films it is more usually from a female one), having a heart fully alive to love as well as lust and self-esteem; however the young men in these early shorts are quite far from this. What you do get is Rohmer's feel for truth, shot with his characteristic elegance, both in the images and the text.