Love in the Afternoon (1972 film)

Written and directed by Eric Rohmer, L’Amour l’apres-midi (Love in the Afternoon (or in its U.S. title, Chloe in the Afternoon)) is the story of a married man whose life and marriage is threatened by the appearance of a former flame where he thinks about having an affair. The sixth and final film of Rohmer’s Six Moral Tales, the film plays into the idea of temptation as well as life outside of marriage. Starring Bernard Verley, Francoise Verley, Zouzou, and Daniel Ceccaldi. L’Amour l’apres-midi is an evocative and witty film from Eric Rohmer.

The film follows a married businessman who has it all fantasizes about the idea of being with other women as that fantasy starts to come reality by the appearance of an old flame who has returned to his life. It’s a film that plays into a man who is thinking about having an affair yet is dealing with a lot in his life as well as the fact that he and his wife are about to have another child. Eric Rohmer’s screenplay has a simple structure where its prologue is about Frederic (Bernard Verley) and his life being married to Helene (Francoise Verley) while running a business that is doing modestly well that can afford him two attractive secretaries whom he doesn’t flirt with.

Still, Frederic thinks about being with other women as it’s just a fantasy that leads to the first part with the arrival of his former flame Chloe (Zouzou) who has returned to Paris and is looking for a new place to live. She and Frederic would resume their friendship with the latter learning about the former’s relationships in the past as he is thinking about engaging an affair with her. The film’s second part which is its third act is about the aftermath of the birth of his son as he becomes conflicted about his relationship with both Helene and Chloe with the latter wanting the things he has believing a child would fulfill her. It adds to Frederic’s own conflict about his infatuation towards Chloe as he’s already have a family with Helene whom he still cares for.

Rohmer’s direction doesn’t bear a lot of style for much of the film in favor of its simple approach to showcasing a man’s family life and his temptation to commit adultery. Shot on location in Paris, Rohmer doesn’t go for a lot of wide shots in the film as it’s more about the exchanges and interaction between characters and the settings they’re in whether it’s a mall, an office, a small apartment, or at a café. Even in the usage of close-ups and medium shots that play into some of the emotional moments of the film that include these exchanges between Frederic and Chloe. During the film’s prologue section, Rohmer would create this sequence that does play into fantasy where Frederic would meet characters from previous entries of the Six Moral Tales to play into this idea of control as if Frederic could get any woman he wanted.

Once Chloe enters the film, it does bear bits of humor yet Rohmer maintains that simplicity into their interactions and scenes together. Most notably a scene in the mall where Frederic is shopping with Helene and their daughter where they bump into Chloe as it’s the only time Helene and Chloe meet. Helene wouldn’t know anything about Frederic’s time with Chloe only thinking it’s innocent yet the film’s third act play into these ideas of adultery as well as what Chloe wants. Rohmer doesn’t make things easy in his compositions into the conflict that Frederic faces as it does raise a lot of moral questions into what he could gain but also what could he lose. Overall, Rohmer crafts an intoxicating and captivating film about a man thinking about having an affair with a former flame.

Cinematographers Nestor Almendros, Jean-Claude Riviere, and Philippe Rousselot do brilliant work with the film’s cinematography with its low-key yet naturalistic approach to lighting with much of the work done by Almendros who would use available light for some of the film’s interiors. Editors Cecile Decugis and Martine Kaflon do excellent work with the editing as it is largely straightforward with a few montages that includes the dream sequence. Set decorator Nicole Rachline does terrific work with the look of Frederic’s office as well as his home and the small apartment that Chloe would live in.

Costume designer Daniel Hechter-Vog does nice work with the costumes as it is largely casual with a few stylish bits including a shirt that Frederic is convinced to buy. The sound work of Jean-Pierre Ruh and Michel Laurent, along with mixing by Jacques Carrere, do superb work with the sound to capture the atmosphere of the locations as well as edit some of Frederic’s narration into what he’s dealing with. The film’s music by Arie Dzierlatka is wonderful for its low-key yet playful orchestral score that help play into the humor along with some somber pieces for the drama.

The film’s amazing cast feature some notable small roles from Suze Randall as an English nanny, Irene Skobline as a saleswoman who convinces Frederic to buy a shirt, Sylvaine Charlet as Chloe’s landlady, Malvina Penne and Babette Ferrier in their respective roles as Frederic and Gerard’s secretaries in Fabienne and Martine, and Daniel Ceccaldi in a terrific performance as Frederic’s business partner Gerard who is fascinated by Chloe though he prefers the company of his secretaries though the relationship is more platonic than romantic. From the previous films of the Six Moral Tales series, there’s Haydee Politoff as Haydee from La Collectionneuse, Francoise Fabian as Maud and Marie-Christine Barrault as Francoise from My Night at Maud’s, and the quartet of Laurence de Monaghan as Claire, Gerard Falconetti as Gilles, Aurora Cornu as Aurora, and Beatrice Romand as Laura from Claire’s Knee as they all appear in cameo appearances from the film’s dream sequence.

Zouzou is brilliant as Chloe as a former flame of Frederic who is trying to find some stability in her life as she finds solace in Frederic yet realizes she wants so much more which adds to Frederic’s internal conflict. Francoise Verley is excellent as Helene as Frederic’s wife as a schoolteacher who is content with her life yet is aware that something isn’t going right with Frederic as well as the chaos of family life. Finally, there’s Bernard Verley in an incredible performance as Frederic as a businessman who has it all yet feels unfulfilled where he fantasizes about having affairs with other women where it would become a reality once Chloe returns to his life as he deals with wanting to stray from the life he has in favor of something more exciting but also with a lot of baggage as well.

L’Amour l’apres-midi is a phenomenal film from Eric Rohmer that features great performances from Bernard Verley, Francoise Verley, and Zouzou. Along with its themes of adultery and fantasy as well as its gorgeous look and setting, music, and its connection to past films from the Six Moral Tales series. It’s definitely a film that play into the idea of infidelity and the need of emotional fulfillment and stability. In the end, L’Amour l’apres-midi is a sensational film from Eric Rohmer.

Related: (I Think I Love My Wife)

Eric Rohmer Films: (The Sign of Leo) – The Bakery Girl of Monceau - Suzanne's Career - (Paris vu par-Place de l‘Etoile) – La collectionneuse - My Night at Maud's - Claire's Knee - (L’enfance d’une ville) - (The Marquis of O) - (Perceval le Gallois) - (Catherine de Heilbronn) - (The Aviator’s Wife) - (Le Beau Mariage) - Pauline at the Beach - (Full Moon of Paris) - The Green Ray - (Four Adventures of Reinette and Mirabelle) - (Boyfriends and Girlfriends) - (Les Jeux de societe) - (A Tale of Springtime) - (A Tale of Winter) - (L’Arbre, le maire et la mediatheque) - (Le trio en mi bemol) - (Les Rendez-vous de Paris) - (Summer’s Tale) - (Autumn Tale) - (The Lady and the Duke) - (Triple Agent) - (Romance of Astrea and Celadon)

© thevoid99 2019

My Night at Maud's

Written and directed by Eric Rohmer, Ma nuit chez Maud (My Night at Maud’s) is the story of a devoted-Catholic engineer who spends the night with a divorced woman as his ideas become challenged. The third film (fourth film in order of its release) as part of Rohmer’s Six Moral Tales follows a man coping with his ideals as he meets a woman with a vivacious personality who challenges his beliefs. Starring Jean-Louis Trintignant, Francoise Fabian, Marie-Christine Barrault, and Antoine Vitez. Ma nuit chez Maud is an evocative and engrossing film from Eric Rohmer.

Set during the Christmas holidays at the French town of Clemont-Ferrand, the film follows a devoted-Catholic engineer who is invited by an old friend to a show where they spend the night with a divorced woman that would have implications for this engineer whose beliefs and ideals are questioned. It’s a film that play into a man staying one night at the apartment of this woman where he later copes with its aftermath just as he is smitten with another woman he encounters in the town that he would see in church on Sundays. Eric Rohmer’s screenplay has this unique three-act structure where the first act follows the life of its protagonist in Jean-Louis (Jean-Louis Trintignant) as he attends the Sunday service while working as an engineer in this town he’s just arrived in. Upon meeting his old friend in Vidal (Antoine Vitez) who is a university lecturer at the town’s college, Vidal would invite Jean-Louis to attend a concert which would begin the second act that largely takes place at the apartment home of a former lover of Vidal in Maud (Francoise Fabian).

In meeting Maud, discussions about the theories of Blaise Pascal where it leads to an argument between Jean-Louis, Vidal, and Maud about these ideas where Vidal leaves to risk driving in the snow with Jean-Louis staying in as he gets to know Maud as a woman who endured heartbreak while revealing her ex-husband had cheated on her some years ago as it’s been a year since she got divorced. The film’s third act isn’t just about Jean-Louis trying to engage into a relationship with Maud but also have the courage to talk with this young blond woman in Francoise (Marie-Christine Barrault) whom he first sees at the Sunday service.

Rohmer’s direction is very intimate in its presentation and setting where it is shot on location in Clemont-Ferrand during the Christmas holidays. While there are some wide shots on top of the mountains to get a look into the town as well as characters walking the mountains, much of the film has Rohmer use medium shots and a few close-ups as it mainly play into the interaction between characters. Notably the scene at Maud’s apartment where much of the film’s second act takes place as there’s not a lot of camera movements in the film in favor of straightforward compositions where Rohmer show Jean-Louis, Maud, and Vidal discussing the theories of Pascal as well as the difference between Atheism and Catholicism as Maud and Vidal practice the former. It also play into this air of sexual and romantic tension between Jean-Louis and Maud once Vidal leaves the apartment with Jean-Louis not wanting to give in to temptation yet Maud is sympathetic to his morals as she is also still reeling from her divorce. Still, there is this air of attraction of their opposite views where Jean-Louis would sleep on her bed with her though nothing sexual happens.

Rohmer does display that restraint while also showcasing this town that Jean-Louis is new to as there’s some beautiful driving scenes into some of the streets and narrow roads where it’s entrancing as well as the lighting display in some parts of the city. Still, Rohmer uses the city as a character with its winter setting that include the film’s third act where Jean-Louis gets to know Francoise and learn they have a lot in common but she isn’t exactly what she seems to Jean-Louis. Overall, Rohmer crafts an intoxicating yet compelling film about an engineer whose Catholic ideals are challenged upon meeting an Atheist woman who is willing to show him a different world.

Cinematographers Nestor Almendros, Emmanuel Machuel, Jean-Claude Gasche, and Philippe Rousselot do amazing work with the film’s black-and-white photography with Almendros doing much of the work in its approach to low-key lighting for the interiors as well as the usage of grey for the scenes in the street and snowy exteriors in the day. Editors Cecile Decugis and Christine Lecouvette do excellent work with the editing as it is largely straightforward in its presentation with a few jump-cuts for a few low-key dramatic moments. Set decorator Nicole Rachline does fantastic work with the look of Maud’s apartment with its stylish decoration which is a direct contrast to the more quaint homes of Jean-Louis and Francoise. The sound work of Jean-Pierre Ruh, Jacques Maumont, and Alain Sempe do superb work with the sound to play up its natural setting in its exterior locations as well as how music sounds at a concert hall.

The film’s wonderful cast include a few notable small roles from Marie Becker as Maud’s daughter Marie, Anne Dubot as a date of Vidal in its third act, Guy Leger as the Catholic priest who performs the Sunday sermons, and Leonid Kogan as himself who performs at the concert that Jean-Louis and Vidal attend. Antoine Vitez is fantastic as Vidal as an old friend of Jean-Louis who is fascinated by the ideas of Marxism as he would introduce Jean-Louis to Maud while wanting to challenge Jean-Louis ideals on faith. Marie Christine-Barrault is excellent as Francoise as a biology student that Jean-Louis is smitten with as he would see her at Sunday service where he would later talk to her in the third act thinking she is this ideal women when she’s really far more complex but also shares many of Jean-Louis’ ideals on faith.

Francoise Fabian is brilliant as Maud as a divorced single mother who spends much of her time at home dealing with her divorce and her heartbreak while befriending Jean-Louis despite their different views on the world. Finally, there’s Jean-Louis Trintignant in an amazing performance as Jean-Louis as a devoted Catholic engineer who meets Maud one night as he is challenged by her ideals while trying to comprehend his emotions and morals about embarking on a relationship with Maud and his feelings for Francoise.

Ma nuit chez Maud is an incredible film from Eric Rohmer. Featuring a great cast, gorgeous photography, an intimate setting, and themes of faith. It’s a film that explores a man whose meeting with a woman with different beliefs raises questions into his own self and temptations while dealing with the fact that he’s smitten by another woman who shares his ideals. In the end, Ma nuit chez Maud is a sensational film from Eric Rohmer.

Eric Rohmer Films: (The Sign of Leo) – The Bakery Girl of Monceau - Suzanne's Career - (Paris vu par-Place de l‘Etoile) – La Collectionneuse - Claire’s Knee - Love in the Afternoon (1972 film) - (L’enfance d’une ville) - (The Marquis of O) - (Perceval le Gallois) - (Catherine de Heilbronn) - (The Aviator’s Wife) - (Le Beau Mariage) - Pauline at the Beach - (Full Moon of Paris) - The Green Ray - (Four Adventures of Reinette and Mirabelle) - (Boyfriends and Girlfriends) - (Les Jeux de societe) - (A Tale of Springtime) - (A Tale of Winter) - (L’Arbre, le maire et la mediatheque) - (Le trio en mi bemol) - (Les Rendez-vous de Paris) - (Summer’s Tale) - (Autumn Tale) - (The Lady and the Duke) - (Triple Agent) - (Romance of Astrea and Celadon)

© thevoid99 2019

Stardust Memories

Written, directed, and starring Woody Allen, Stardust Memories is about a filmmaker who finds himself compromised as he yearns to make more serious films while dealing with fans who preferred his earlier, funnier work. Meanwhile, the filmmaker is also dealing with the women in his life as he thinks about an old girlfriend of his. The film has Allen paying tribute to one of his favorite filmmakers in Federico Fellini as he pays homage to Fellini’s 1963 classic 8 ½ in grand style. Also starring Charlotte Rampling, Jessica Harper, Marie-Christine Barrault, and Tony Roberts. Stardust Memories is a whimsical yet ravishing film from Woody Allen.

After a successful period in making comedies and then suddenly going into more serious work, filmmaker Sandy Bates (Woody Allen) is struggling to finish a new film as studio executives and producers want him to create a new ending. Meanwhile, Bates is asked to go to a film festival of his own work as he reluctantly decides to attend as he faces various questions from fans and admirers who question about his more recent work as they all prefer his earlier and funnier films of the past. During his stay at the Stardust Hotel for the festival’s duration, Bates is haunted by memories of his old girlfriend Dory (Charlotte Rampling) whom he constantly thinks about while is currently dating a French woman named Isobel (Marie-Christine Barrault) who had just left her husband.

During the festival, Sandy befriends a classical violinist named Daisy (Jessica Harper) whose boyfriend Jack (John Rothman) is a fan of Sandy’s work as the two talk about various things. Sandy also endures memories of his past while continually being confronted by people over his work and contributing to society as his friend Tony (Tony Roberts) attends the festival to talk with fans about Sandy’s work. Still haunted by memories of Dory, Sandy and Daisy take a drive around town where they would encounter a festival about aliens landing on Earth. For Sandy, the event would only add to his own existential issues about what to do with his life and career.

The film is about a filmmaker whose work as an artist comes into question by everyone as he attends a film festival of his work where he deals with fans, critics, and a French girlfriend with two kids leading to an existential crisis that also involves memories of an old flame. All of these stories is told in a very loose, chaotic script as Woody Allen explores the world of fame and art in a very surreal yet humorous fashion as he pays tribute to Federico Fellini’s 8 ½. The screenplay has Allen delving into these themes while playing with the world of fiction and non-fiction as his Sandy Bates character is a man who is struggling to deal with himself as he wonders what should he do in his life as he has all of these people around him.

Allen’s direction exudes style in the way he pays homage to Fellini’s 8 ½ by opening the film in the same way Fellini opened that film as it is later followed strange surreal moments only to be cut as studio executives and producers stop the picture criticizing what Bates is trying to do. With a lot of gorgeous compositions and scenes where’s there’s lots of characters surrounding Bates as they talk and talk. It’s a film where Allen explores the downside of fame and being an artist while showing a man who had lost his muse and is struggling to deal with this French woman who had left her husband and brings her children along. Allen has his character deal with a lot of these issues while going into strange encounters where a lot of is Fellini-esque to emphasize Bates’ ordeal as he tries to ponder what to do. Overall, Allen creates a very witty tribute to Federico Fellini as well as an engaging piece on the trappings of fame.

Cinematographer Gordon Willis does a brilliant job with the film‘s black-and-white cinematography to play up the Fellini-esque visual style that Allen wants as there‘s some amazing daytime scenery of the beach scenes to more entrancing shots with shades for some of the film‘s interior shots. Editor Susan E. Morse does a fantastic job with the editing to create rhythmic cuts for some of the film’s fanatical scenes involving fans while utilizing some amazing jump-cuts for Bates’ recollection of his last meeting with Dory as it is one of the most touching moments of the film.

Production designer Mel Bourne, along with set decorator Steven J. Jordan and art director Michael Molly, do wonderful work with the set pieces such as the Stardust hotel that Bates stays in to the apartment he lives in filled with famous photographs in the background. Costume designer Santo Loquasto does a nice job with the costumes as it‘s mostly casual clothing to more stylish dresses to represent the different women in Bates‘ life. Sound editor Dan Sable does a terrific job with the sound that is most notable in the film’s opening scene as Bates is talking but his voice isn’t heard due to the fantasy that he’s living in. The film’s music soundtrack includes an array of jazz and standard pieces from people like Louis Armstrong, Cole Porter, Django Reinhardt, Glenn Miller, and Chick Webb.

The casting by Juliet Taylor is the major highlight of the film for the people that is cast including the extras to maintain a certain look that is in tribute to the strange world of Federico Fellini. Making small appearances include Daniel Stern as a young actor, Amy Wright as a fan who wants to sleep with Bates, Anne De Salvo as Bates’ needy sister, longtime Allen muse Louise Lasser in a cameo as Bates’ secretary, Laraine Newman as a studio executive, Judith Roberts as a lounge singer. Helen Hanft as festival host/film critic Vivian Orkin, John Rothman as Daisy’s boyfriend Jack, and in her film debut, Sharon Stone as an ingenue who Bates sees in the film’s opening sequence. Tony Roberts is very good as Bates’ friend and actor Tony who tries to help Bates deal with his issues while Marie-Christine Barrault is wonderful as Bates’ caring girlfriend Isobel.

Jessica Harper is excellent as the smart and low-key Daisy who befriends Bates as she is interested in his views of the world as she reveals her own frustrations in being a classical musician. Charlotte Rampling is radiant as Bates’ former flame Dory who appears in strange flashback scenes as she plays the woman Bates thinks is perfect only to be hampered by her own insecurities as it’s a truly mesmerizing performance for the British actress. Finally, there’s Woody Allen in a very funny performance as Sandy Bates as Allen takes his usual persona to explore a man going into an existential crisis while dealing with fame and all sorts of things in a performance that is a joy to watch.

Stardust Memories is a charming yet very playful comedy from Woody Allen. Featuring great performances from Charlotte Rampling and Jessica Harper, the film is among one of Allen’s most stylish and confrontational films as he explores the downside of fame. Notably as it pays tribute to Federico Fellini in a grand way that Fellini fans will definitely enjoy. In the end, Stardust Memories is a marvelous film from Woody Allen.

Woody Allen Films: What’s Up Tiger Lily? - Take the Money & Run - Bananas - Everything You Always Wanted to Know About Sex (But Were Afraid to Ask) - Sleeper - Love & Death - Annie Hall - Interiors - Manhattan - A Midsummer Night’s Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories-Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows & Fog - Husbands & Wives - Manhattan Murder Mystery - Don't Drink the Water - Bullets Over Broadway - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet & Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra’s Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)

The Auteurs #24: Woody Allen: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2012