7.8/10
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29 user 29 critic

Summer (1986)

Le rayon vert (original title)
It's July, and Delphine has nowhere to go for the summer. She feels very bored and "empty", but this won't last; one day she accidently meets someone who seems to be totally made for her...

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(collaboration), (scenario)
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Cast

Cast overview, first billed only:
...
Amira Chemakhi ...
in Paris
Sylvie Richez ...
in Paris
María Luisa García ...
Manuella in Paris (as Lisa Hérédia)
Basile Gervaise ...
in Paris
Virginie Gervaise ...
in Paris
René Hernandez ...
in Paris
Dominique Rivière ...
in Paris
Claude Jullien ...
in Paris
Alaric Jullien ...
in Paris
Laetitia Riviere ...
in Paris
Isabelle Rivière ...
in Paris
...
Beatrice in Paris
Rosette ...
Françoise in Paris
Marcello Pezzutto ...
in Paris
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Storyline

Delphine's traveling companion cancels two weeks before her holiday, so Delphine, a Parisian secretary, is at loose ends. She doesn't want to travel by herself, but has no boyfriend and seems unable to meet new people. A friend takes her to Cherbourg; after a few days there, the weepy and self-pitying Delphine goes back to Paris. She tries the Alps, but returns the same day. Next, it's the beach: once there, she chats with an outgoing Swede, a party girl, and a friendship seems to bud; then, suddenly, Delphine bolts, heading back to Paris. As she waits at the Biarritz train station, a young man catches her eye; perhaps a sunset and the sun's green ray await. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

29 August 1986 (USA)  »

Also Known As:

Summer  »

Box Office

Opening Weekend:

$732 (USA) (26 August 2011)

Gross:

$37,455 (USA) (9 December 2011)
 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Marie Rivière first encountered Éric Rohmer's work in the early 1970s. She wrote a letter to the director, expressing an interest in working with him. This led to small parts in some of his films, culminating in this full collaboration with Rohmer where Riviere's contribution to the screenplay was so extensive, she received a co-writing credit. As such, the screenplay was actually just a framework for the actors as practically all the dialogue was improvised. Riviere would actually go on to make a documentary about Rohmer which she completed in 2010, just months before the director's death. See more »

Quotes

Delphine: [crying about her problems] I'm forgetting them. I didn't think of them. You talk of showing things... I don't know, I don't have anything. If I had something to show, people would see it, that's all!
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Connections

Featured in Histoire(s) du cinéma: Les signes parmi nous (1998) See more »

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User Reviews

Better film than my review
19 June 2002 | by (London Engerland) – See all my reviews

Something new on the screen! The sun shines, the wind blows, the clouds scud but it never rains. The treetops shiver in the melancholy gusts, the people gasp and murmur and gesticulate, and tears run down our heroine's cheeks. Again and again her face contorts as her fragile boat grinds on the rocky bottom.

A frustrated secretary lives for love. When a chance encounter informs her of the green ray, she is enamoured, thinking that this controversial phenomenon will bring the psychic clarity she so needs. She has so little self-esteem that she identifies with everything around her, she is somehow somewhat egoless, a pair of eyes, a pair of ears, a tortured heart. Her frame is delicate, almost skeletal. Fear is eating her soul.

She cannot reciprocate the robust friendship of one group of people due to her delicate vegetarian outlook (which she paradoxically defends with great vigour and the most articulacy she summons in two hours on screen). But she is excluded also due to the delicacy she cannot control (her sea-sickness, her love-sickness...) Wherever she goes, in fact, she cannot make friends. The ski bums of the alps treat her with relaxed cool cordiality but she leaves immediately because, she says, "I know that place". The implication is that she thinks she's leaving because the place is decadent and full of one night stands but that the underlying reality is of her not being able to stomach any reminder of herself. She wants to be reborn with a childlike clarity in the last miraculous light of the dying sun. This emphasises a cycle of small deaths and rebirths - falling into and out of love, leaving home, coming back again, leaving again.

This film is deeply concerned with one person and may seem obsessive, but it's one way of looking at life and has of course many resonances for our self-obsessed selves. Of course we cannot escape from ourselves, though we can expand that self so that it is not so claustrophobic to live in.


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