Erich Rohmer

French filmmaker considered one of the members mas emphasized from the so called Nouvelle Vague or new wave of the French cinema. I study in the Lycee de Nancy and I license in French literature in 1942, and between this to? Or and 1949 ejercio as teacher in the same lyceum. Meanwhile, after the end of the war, I publish the novel Elizabeth (1946) with Gilbert Cordier’s pseudonym, and as such or with his name I authenticate firmaria likewise some journalistic articles before and after his movement to Paris, at the end of 1949, where I orientate his steps towards the cinema. Erich Romher In 1957, as co-author (with Claude Chabrol) of the book Hitchcock, a monograph on the British producer, I adopt Eric Rohmer’s pseudonym, for the one that is known as filmmaker. This inclination to use pseudonyms was not foreign to a rather atypical behavior. In the opinion of Jean-Claude Brialy (one of emblematic actors of the Nouvelle Vague), always he was very an ascetic, a man extremely jealous of his things. For example, a fifties to? You even not habia said to his parents that towards cinema (of fact, Rohmer was a pseudonym his profession to conceal them), and these were surprised very much that his son was not already the teacher of literature that always habian conceited that was. Then, little and nothing has come out on his private life … Already habia rolled his first experimental shorts when conocio to Jacques Rivette y Jean-Luc Godard, with whom I found The Gazette du Cinema, in that he was a chief of draft, while he was collaborating in a simultaneous way as critic in other specializing publications, since Them Temps Modernes, The Parisienne and Arts. Did these experiences lead it to integrating the founding equipment of Cahiers du Cinema, the famous magazine that I constitute in embryo of the Nouvelle Vague and that dirigio between 1957 and 1963, to? Or in that I separate of the publication possibly because of the differences of criterion between his members, immersed in the flushed polemic between his critics and those of another magazine in vogue, Positif, separated some and others for political conflicting ideologies: a few relatives to the communism and other defenders extreme of a classic cinema and of the traditional values. Still of Story of oto? Or (1998) An opportune offer of the French television to realize twelve documentaries (1964-1969), in general of didactic content, I justify his withdrawal. Anyhow, and as for the majority of the members of the movement, the specializing journalism was meaning only a step before the accomplishment. A singular work The cold reception to his first full-lenght film, Him seals du lion (1959), and practically void commercial career of the movie his projects did not stop it. The concretion of the first one was the opening, in society with the director Barbet Schroder, of the independent producer They Films du Lozenge. Immediately afterwards I embark in the task that was going to define his path, her of raising a thematic line on which mounting his histories. Triple agent (2003) In 1962 I initiate the first one of three series of movies that desarrollaria along his career, always with own scripts: ” Six moral stories “, that integrate The boulangere of Monceau (1962); The carriere of Suzanne (1963); My night with Maud (1969), by whom it was nominated to the Best film Oscar of not English speech; The collector (1967), special prize of the juror in the Festival of Berlin; The knee of Claire (1970), prize to the best movie in San Sebastian, and The love after the midday (1972). The seguirian, in them to? You eighty, ” Comedies and proverbs “, series that there includes The wife of the aviator (1980); The good wedding (1981); Pauline in the beach (1982), that him valio the Bear of Silver and the prize Fipresci in the Festival of Berlin in 1983; The nights of the full moon (1984); The green beam (1986), León of Gold and prize of the international critique in Venice, and The friend of my friend (1987). In the decade of the nineties I realize the series ” Stories of four stations “, formed by Story of spring (1990); Story of winter (1991), I reward Fipresci in Berlin; Story of summer (1996), and Do I Count of oto? Or (1998), I reward to the best original script in Venice. To this labor there is that to? Adir numerous works ” out of series “, from short and mediometrajes experimental, monographs and documentaries that rodo along them to? You fifty and sixty, up to epics of epoch, comedies of intrigue, historical movies or unusual thrillers like Triple agent (2003). The permanent experimentation the traditional dramas have never attracted Eric Rohmer, but them sin? Detail you of the human relations and the paradoxical and contradictory aspects of the psychology of his prominent figures. Podria to be said without dread of being wrong that it treats always the same subject matter: one tells the history that never becomes exhausted of men and women who try to analyze his own behavior, which habitually little and nothing has to see with his actions. His protagonists speak in the attempt of explaining each other constant to if same, and they do it as if it was a question of a reflection shared with the spectator, but they never come to a conclusion. Receiving the León of Gold 2003 East element, the incomplete prominent figures, in permanent fight between the desire and the conscience, and in general determined by the random, present this one in almost all his work, which reinforces the idea of the accomplishment as a permanent experimentation, an investigation without final point. This freshness devoid of nostalgia renews again and again, with each of his works, the force of this director of rare aptitude to see the world with eyes always current, that in the Festival of Venice of 2003 it saw all his artistic path rewarded with the León of Gold. (Jean-Marie Maurice’s pseudonym Scherer; Tulle, 1920)

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