#Béatrice Romand

[cinematicjourney]

Autumn Tale (1998) | dir. Éric Rohmer

[cinematicmasterpiece]

le genou de claire (1970)

[shihlun]

Béatrice Romand in Éric Rohmer’s Claire's Knee (1970), Love in the Afternoon (1972), Le Beau Mariage (1982), The Green Ray (1986), and Autumn Tale (1998)

[sillylittlegods]

Views of the Tricastin Nuclear Power Plant in Eric Rohmer’s An Autumn Tale (1998)

[niceandpeaceful]

Claire’s Knee (Béatrice Romand as Laura), 1970, Eric Rohmer director

[detournementsmineurs]

“Conte d'Automne” d'Éric Rohmer (1998) - troisième volet du cycle des “Contes des Quatre Saisons” (1990-98) - avec Béatrice Romand, Marie Rivière, Alexia Portal, Didier Sandre et Alain Libolt, janvier 2023.

[byneddiedingo]

Aurora Cornu and Jean-Claude Brialy in Claire's Knee (Éric Rohmer, 1970) Cast: Jean-Claude Brialy, Aurora Cornu, Béatrice Romand, Laurence de Monaghan, Michèle Montel, Gérard Falconetti, Fabrice Luchini. Screenplay: Éric Rohmer. Cinematography: Néstor Almendros. Film editing: Cécile Decugis. Call me naïve, but I never realized before how much Claire's Knee is a kinder, gentler version of Les Liaisons Dangereuses. Éric Rohmer's characters exist to talk, not to act, so that physical seduction is replaced by verbal dalliance. The novelist Aurora (Aurora Cornu) in Claire's Knee is not, like the Marquise de Merteuil of Pierre Choderlos de Laclos's novel and its many adaptations, out to deflower the innocent, using Jerome (Jean-Claude Brialy), her equivalent of Valmont, as her instrument. For her, the dalliance of older man and teenager is an intellectual exercise, one that might result in a novel for her and only incidentally in pleasure for him. So it's also of importance that of the two jeunes filles en fleurs of the film, it's the more intellectual Laura (Béatrice Romand) who truly attracts Jerome, while the strikingly pretty but vapid Claire (Laurence de Monaghan) may be dismissed along with the brief erotic thrill he gets from caressing her titular joint. But has a film ever been sexier without actual nudity and copulation? Add to that the taboos about underage sex, and we get a film taut with suspense yet essentially light-hearted and full of wisdom about the complexities of love.

[lejournaldupeintre]

12 years ago : Le Genou de Claire

Claire’s Knee (French: Le Genou de Claire) is a 1970 French romantic drama film written and directed by Éric Rohmer. The film stars Jean-Claude Brialy, Aurora Cornu, Béatrice Romand and Laurence de Monaghan. It is the fifth film in the series of the Six Moral Tales (1963–1972). “Why would I tie myself to one woman?” asks Jerôme in Claire’s Knee, though he plans to marry a diplomat’s daughter by…

[dersiebentekontinent]

[my-window-reflection]

rohmer girl summer

[filmswithoutfaces]

Le Beau Mariage (1982) dir. Éric Rohmer

[freshmoviequotes]

A Good Marriage (1982)

[shihlun]

Marie Rivière and Béatrice Romand in Éric Rohmer‘s The Green Ray (1986) and Autumn Tale (1998)

[wetgeliscasualinterval]

“L'Amour l'après-midi” (1972) by Éric Rohmer

[detournementsmineurs]

Didier Sandre, Béatrice Romand et Alexia Portal dans “Conte d'Automne” d'Éric Rohmer (1998) - troisième volet du cycle des “Contes des Quatre Saisons” (1990-98) - janvier 2023.

[byneddiedingo]

Vincent Gauthier and Marie Rivière in The Green Ray (Éric Rohmer, 1986) Cast: Marie Rivière, María Luisa García, Béatrice Romand, Rosette, Eric Hamm, Carita, Joël Comarlot, Vincent Gauthier. Screenplay: Marie Rivière, Éric Rohmer. Cinematography: Sophie Maintigneux. Film editor: María Luisa García. Music: Jean-Louis Valéro Delphine (Marie Rivière) is shy, self-conscious, self-doubting, and frankly somewhat of a pain. At the beginning of Éric Rohmer's film, which is part of his series "Comedies and Proverbs," a successor to his more celebrated "Six Moral Tales," she has been ditched by a friend with whom she was planning to go on vacation. It's July, which in France means you're obligated to go on a vacation, especially if you live in Paris, which will be abandoned to the tourists and the pigeons in August. Her long-distance boyfriend, whom we never meet, has his own plans, so she spends much of the film searching for someone to accompany her. Ireland, where her family plans to vacation, is too cold and wet for her. Finally, a friend invites her to stay with her and her family in Cherbourg, but Delphine finds all the fuss and noise of a large group depressing, since she has no one she can call her own. Moreover, she's a vegetarian amid a hearty group of carnivores, and finds herself spending a lot of time (and talk -- this is a Rohmer film, after all) defending her dietary choice: It makes her feel "airy," she claims. She returns to Paris, then makes a mad one-day dash to an Alpine resort where she walks up an Alp and back down to take a return bus to Paris, where she finds herself being followed by a creep on the street. Finally, another friend takes pity on the increasingly depressed Delphine and offers her her brother-in-law's apartment in Biarritz. Things aren't much better there, though she strikes up an acquaintance with a holidaying Swedish girl, Lena (Carita), who is as gregarious and sexually adventurous as Delphine is solitary and touchy. They go out on the town together, but Lena's vulgarity offends her and she flees from the advances of one of the men Lena helps pick up. But in Biarritz she has also overheard the conversation of a group of older people about Jules Verne's novel The Green Ray, which centers on the atmospheric phenomenon sometimes called "the green flash," which occurs when the sun is setting. In the novel, observers of the green ray supposedly gain a magical insight into themselves and the people they're with. At the film's end, Delphine has somehow overcome her shyness and struck up an acquaintance with Jacques (Vincent Gauthier), a handsome young man she meets in the station as she's waiting for her train back to Paris. And, yes, they observe the green flash together. End of film. There's a great deal of charm to Rohmer's fable, which was crafted with the assistance of Rivière, who plays Delphine. Much of the dialogue was improvised by the cast, and the film was shot on 16 mm to keep the actors as spontaneous as possible. Occasionally, you can see a member of the cast, especially the children in the Cherbourg sequence, look straight at the camera as if uncertain about their performance, but it only helps maintain a kind of documentary feeling to the movie. This is a wisp of a film, but it's heartfelt.