Cary Grant and Audrey Hepburn were two of the biggest movie stars of their day, bringing a delightful levity and emotional complexity to their roles that were seldom matched by their peers. It was only a matter of time before they would team up in "Charade," a romantic mystery that put their comedic charm on full display. As scene-partners, their on-screen chemistry was incredibly compatible, leaving fans wondering why they only co-starred in a single film. As it turns out, Grant was offered quite a few roles opposite Hepburn before "Charade," but turned them down for one very sensible reason.
"Charade" has all the ingredients that make a great Alfred Hitchcock movie — humor, intrigue, and his leading man of choice, Cary Grant — except for the director himself. This resemblance was no accident, according to Stanley Donan, the director of "Charade." "I always wanted to make a movie like one of my favorites,...
"Charade" has all the ingredients that make a great Alfred Hitchcock movie — humor, intrigue, and his leading man of choice, Cary Grant — except for the director himself. This resemblance was no accident, according to Stanley Donan, the director of "Charade." "I always wanted to make a movie like one of my favorites,...
- 9/16/2022
- by Shae Sennett
- Slash Film
Deception director Arnaud Desplechin tells Anne-Katrin Titze about the Emmanuelle Devos Kings & Queen connection to Andrew Wylie that led to a phone call from Philip Roth.
Arnaud Desplechin’s adaptation with Julie Peyr of Philip Roth’s Deception (Tromperie), starring Denis Podalydès, Léa Seydoux (Bruno Dumont’s France), Emmanuelle Devos, and Anouk Grinberg, is a highlight of the 27th edition of Rendez-Vous with French Cinema in New York. Claire Denis’s Fire (Avec Amour Et Acharnement), starring Juliette Binoche (in a Free Talk with Constance Meyer’s Robust star Déborah Lukumuena), Grégoire Colin (Nora Martirosyan’s Should The Wind Drop), and Vincent Lindon is the Opening Night selection. Jim Jarmusch is the Guest of Honour of this year’s festival.
An in-person Q&a with Kent Jones and Arnaud Desplechin will follow a screening of Diane at the French Institute Alliance Française Photo: Anne-Katrin Titze
Our Love Affairs: Arnaud Desplechin...
Arnaud Desplechin’s adaptation with Julie Peyr of Philip Roth’s Deception (Tromperie), starring Denis Podalydès, Léa Seydoux (Bruno Dumont’s France), Emmanuelle Devos, and Anouk Grinberg, is a highlight of the 27th edition of Rendez-Vous with French Cinema in New York. Claire Denis’s Fire (Avec Amour Et Acharnement), starring Juliette Binoche (in a Free Talk with Constance Meyer’s Robust star Déborah Lukumuena), Grégoire Colin (Nora Martirosyan’s Should The Wind Drop), and Vincent Lindon is the Opening Night selection. Jim Jarmusch is the Guest of Honour of this year’s festival.
An in-person Q&a with Kent Jones and Arnaud Desplechin will follow a screening of Diane at the French Institute Alliance Française Photo: Anne-Katrin Titze
Our Love Affairs: Arnaud Desplechin...
- 2/23/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
June, when it’s not “bustin’ out all over” is vacation time, so break out of your rut and fly away to exotic places. Or maybe just watch someone else do that at the ole’ multiplex. Yes, that “someone”, the story’s main character, truly needs to “shake things up”. He’s a middle-aged American writer who’s dealing with a “rough patch’ in his relationship. And since he writes travel articles, what better excuse for a “change of scenery”. Could he be bound for a pacific island, sipping one of those umbrella drinks as the sand squishes between his toes?. Or even south of the border, at a swanky resort. You’re not even close. His preferred sand is over in Israel. And rather than indulging in a fancy five-star hotel, he’s brokered a sweet deal on a Sublet.
We first meet fifty-something writer Michael (John Benjamin Hickey...
We first meet fifty-something writer Michael (John Benjamin Hickey...
- 6/10/2021
- by Jim Batts
- WeAreMovieGeeks.com
Éric Rohmer was notoriously secretive about his personal life, giving alternate birth names, birth cities, and birth dates. But according to biographers Antoine de Baecque and Noël Herpe, Rohmer was actually born Maurice Joseph Henri Schérer, in Tulle, on March 21, 1920. Whatever the truth, such resolute devotion to privacy reflected the exclusive and rigorous nature of Rohmer’s working life as well. Often going against the grain of his early French New Wave contemporaries, and from there enjoying a similar autonomy and singularity within the sphere of international cinema, Rohmer directed distinctive films most aligned—emphatically and productively—with his own filmography. Maintaining a remarkable dedication to consistent themes, dramatic interests, and, in nearly all cases, a comparable formal approach, Rohmer placed the nuanced behavior of the individual at the fore of all his work. Above: Le Signe du lionSteeped in studies of history, literature, and philosophy, Rohmer arrived at his burgeoning cinephile comparatively late.
- 11/5/2020
- MUBI
Versatile in a way that few directors at his level of recognition dare to be, prolific French auteur François Ozon follows his psychosexual thriller “Double Lover” with a multi-narrative drama based on true events. “By the Grace of God” offers a masterfully structured and sublimely acted account of a group of men reckoning with childhood sexual abuse at the hands of a priest neglectfully entrusted with their innocence.
While a procedural like Tom McCarthy’s “Spotlight” took a journalistic angle on the subject, and Pablo Larraín’s “The Club” functioned as fiery character study centered on the perpetrators, Ozon’s compassionate and ideologically balanced take on the Catholic Church’s disgraceful inaction against pedophilia within its ranks serves the victims’ stories first and foremost. The ramifications of the ongoing suffering caused by such despicable criminal acts guide the film through the lives of three distinct survivors.
Email correspondence in voice-over...
While a procedural like Tom McCarthy’s “Spotlight” took a journalistic angle on the subject, and Pablo Larraín’s “The Club” functioned as fiery character study centered on the perpetrators, Ozon’s compassionate and ideologically balanced take on the Catholic Church’s disgraceful inaction against pedophilia within its ranks serves the victims’ stories first and foremost. The ramifications of the ongoing suffering caused by such despicable criminal acts guide the film through the lives of three distinct survivors.
Email correspondence in voice-over...
- 10/18/2019
- by Carlos Aguilar
- The Wrap
The Film Society of Lincoln Center announces Ava DuVernay’s documentary The 13th as the Opening Night selection of the 54th New York Film Festival (September 30 – October 16), making its world premiere at Alice Tully Hall. The 13th is the first-ever nonfiction work to open the festival, and will debut on Netflix and open in a limited theatrical run on October 7.
Chronicling the history of racial inequality in the United States, The 13th examines how our country has produced the highest rate of incarceration in the world, with the majority of those imprisoned being African-American. The title of DuVernay’s extraordinary and galvanizing film refers to the 13th Amendment to the Constitution—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States . . . ” The progression from that second qualifying clause to the horrors of mass incarceration and...
Chronicling the history of racial inequality in the United States, The 13th examines how our country has produced the highest rate of incarceration in the world, with the majority of those imprisoned being African-American. The title of DuVernay’s extraordinary and galvanizing film refers to the 13th Amendment to the Constitution—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States . . . ” The progression from that second qualifying clause to the horrors of mass incarceration and...
- 7/19/2016
- by Kellvin Chavez
- LRMonline.com
If the languid summer tentpole season has you down, fear not, as the promising fall slate is around the corner and today brings the first news of what we’ll see at the 2016 New York Film Festival. For the first time ever, a non-fiction film will open The Film Society of Lincoln Center’s festival: Ava DuVernay‘s The 13th. Her timely follow-up to Selma chronicles the history of racial inequality in the United States and will arrive on Netflix and in limited theaters shortly after its premiere at Nyff, on October 7.
“It is a true honor for me and my collaborators to premiere The 13th as the opening night selection of the New York Film Festival,” Ava DuVernay says. “This film was made as an answer to my own questions about how and why we have become the most incarcerated nation in the world, how and why we regard...
“It is a true honor for me and my collaborators to premiere The 13th as the opening night selection of the New York Film Festival,” Ava DuVernay says. “This film was made as an answer to my own questions about how and why we have become the most incarcerated nation in the world, how and why we regard...
- 7/19/2016
- by Jordan Raup
- The Film Stage
Film Movement brings Eric Rohmer’s classic period film The Marquise of O… to Blu-ray, the first time the title is made available in the Us (previously, it was sandwiched into a Region 2 Rohmer collection, the same set which features another rare title, 1982’s A Good Marriage). Awarded the Grand Jury Prize at the Cannes Film Festival (it tied with Carlos Saura’s Cria Cuervos), it would be the only accolade the famed filmmaker would collect from the event and it was his last time in competition.
It’s one of Rohmer’s earliest historical dramas (he would continue in this vein intermittently, with titles like Perceval and The Lady and the Duke), and initially seems like a black comedy on social mores before it seeps into a . A German co-production, the film is based on a short story by Heinrich von Kleist (Jessica Hausner’s 2014 film Amour Fou documents the writer’s curious denouement,...
It’s one of Rohmer’s earliest historical dramas (he would continue in this vein intermittently, with titles like Perceval and The Lady and the Duke), and initially seems like a black comedy on social mores before it seeps into a . A German co-production, the film is based on a short story by Heinrich von Kleist (Jessica Hausner’s 2014 film Amour Fou documents the writer’s curious denouement,...
- 11/10/2015
- by Nicholas Bell
- IONCINEMA.com
20. Love/Chloe in the Afternoon (1972)
Directed by: Éric Rohmer
Originally titled “Love in the Afternoon,” but released in North America as “Chloe in the Afternoon,” this Rohmer film is a tale of possible infidelity, seen through the eyes of a conflicted man. Frédéric (Bernard Verley) is a successful young lawyer who is happily married to a teacher named Hélène (Françoise Verley), who is pregnant with their second child. While Frédéric is in a considerably good place in his life, he still struggles with the loss of excitement he had before he married, when he could sleep with whomever he chose. It wasn’t so much the sex that thrilled him, but the chase itself. Still, he feels that these thoughts and fantasies, paired with his refusal to act upon them, only proves that he is completely dedicated and in love with his own wife. That is, until he meets Chloé...
Directed by: Éric Rohmer
Originally titled “Love in the Afternoon,” but released in North America as “Chloe in the Afternoon,” this Rohmer film is a tale of possible infidelity, seen through the eyes of a conflicted man. Frédéric (Bernard Verley) is a successful young lawyer who is happily married to a teacher named Hélène (Françoise Verley), who is pregnant with their second child. While Frédéric is in a considerably good place in his life, he still struggles with the loss of excitement he had before he married, when he could sleep with whomever he chose. It wasn’t so much the sex that thrilled him, but the chase itself. Still, he feels that these thoughts and fantasies, paired with his refusal to act upon them, only proves that he is completely dedicated and in love with his own wife. That is, until he meets Chloé...
- 12/2/2014
- by Joshua Gaul
- SoundOnSight
Chris Rock has signed Rosario Dawson to play the female lead in his upcoming untitled comedy, which marks his third feature film as writer-director. Deadline has the news and, while plot details are not yet available, they note that the film takes place in New York City and pokes some fun at show business. Rock's previous writing and directing projects include 2003's Head of State and his 2007 remake of Eric Rohmer's Chloe in the Afternoon , I Think I Love My Wife . Dawson, meanwhile, recently starred in Danny Boyle's Trance and is set to reprise her role as Gail in Robert Rodriguez and Frank Miller's Sin City: A Dame to Kill For . (Photo Credit: Ljt Images / Pnp / WENN.com)...
- 4/24/2013
- Comingsoon.net
So, Monday was a busy day for Oscar nominee’s and various other stars who buff up guest lists around this time. ‘Tis the month of the Academy Awards and the lead-up to it always has a bunch of events and and other awards shows crammed into a two-month period. The Oscar nominees’ luncheon happened in the afternoon, and as we’ve already reviewed, it was a bit of a boring affair, sartorially speaking. Things looked up a tad more at night, at The Hollywood Reporter Nominees’ Night at Spago, in Beverly Hills.
Where Jennifer Lawrence got it it wrong in Chloe in the afternoon, she fared better here in a nude, bedazzled Versace number with metallic, neutral peep-toe heels. The look is sexier, as the hair’s also thicker and more tousled. Now if only Jen’s team would get their lengths right. This dress should have had a couple of inches lopped off.
Where Jennifer Lawrence got it it wrong in Chloe in the afternoon, she fared better here in a nude, bedazzled Versace number with metallic, neutral peep-toe heels. The look is sexier, as the hair’s also thicker and more tousled. Now if only Jen’s team would get their lengths right. This dress should have had a couple of inches lopped off.
- 2/5/2013
- by Ambika Muttoo
- TheFabLife - Movies
Close-Up is a column that spotlights films now playing on Mubi. The Green Ray is playing on Mubi UK starting today through December 5.
Smitten by a viewing of Eric Rohmer's 1972 film, Love in the Afternoon, French actress and filmmaker Marie Rivière felt compelled to write the director a letter expressing her fondness of the film and offering her professional services. By 1978, she had been given a small role in Perceval, the director's minimalist take on Chrétien de Troyes's 12 century romantic text. Rivière was later given an expanded role in 1981's The Aviator's Wife, the first entry in Rohmer's six-film cycle of Comedies & Proverbs. By 1986, Rivière was called upon to play Delphine in the director's semi-improvised masterpiece, The Green Ray, a film whose form and content innovatively draws upon the actor's personal experiences and fragile emotional state at the time. Such was her connection with Rohmer and his work,...
Smitten by a viewing of Eric Rohmer's 1972 film, Love in the Afternoon, French actress and filmmaker Marie Rivière felt compelled to write the director a letter expressing her fondness of the film and offering her professional services. By 1978, she had been given a small role in Perceval, the director's minimalist take on Chrétien de Troyes's 12 century romantic text. Rivière was later given an expanded role in 1981's The Aviator's Wife, the first entry in Rohmer's six-film cycle of Comedies & Proverbs. By 1986, Rivière was called upon to play Delphine in the director's semi-improvised masterpiece, The Green Ray, a film whose form and content innovatively draws upon the actor's personal experiences and fragile emotional state at the time. Such was her connection with Rohmer and his work,...
- 11/5/2012
- by David Jenkins
- MUBI
After 2003's Head of State and 2007's I Think I Love My Wife, Chris Rock is planning to see how the director's chair fits again him, with a new comedy film project he's going to write and direct, starting sometime later this year. The film will be produced by Scott Rudin, the hyperactive and prolific film and Broadway producer who was one of the producers of the Broadway play The Motherf____r With the Hat, which Rock made his Broadway acting debut in. However the premise of the film, Rock is keeping top secret for now, except to say that unlike I Think I Love My Wife, which was a remake ofthe 1972 French film Chloe in the Afternoon, this new film will be...
- 5/17/2012
- by Sergio
- ShadowAndAct
Buñuel goes new romantic. Michael Corleone as the guitarist's role model … David Lynch's favourite musicians discuss the relationship between music and the movies
Nick Rhodes, Duran Duran
What moment in film is most similar in its own way to the music you make, and how?
Fellini's La Dolce Vita – specifically, the Trevi fountain scene. I relate to it because of its style and meticulous detail. It's irreverent, and at the time it was made he was doing something that nobody else had done before. This is what we always strive for. Obviously, the results are in the eye of the beholder, but that's how I'd personally love to envisage what we do.
What moment in your music is most filmic, and how?
Two songs come to mind: an early one called The Chauffeur, which tells a story and lends itself to many different interpretations, and one from the new album,...
Nick Rhodes, Duran Duran
What moment in film is most similar in its own way to the music you make, and how?
Fellini's La Dolce Vita – specifically, the Trevi fountain scene. I relate to it because of its style and meticulous detail. It's irreverent, and at the time it was made he was doing something that nobody else had done before. This is what we always strive for. Obviously, the results are in the eye of the beholder, but that's how I'd personally love to envisage what we do.
What moment in your music is most filmic, and how?
Two songs come to mind: an early one called The Chauffeur, which tells a story and lends itself to many different interpretations, and one from the new album,...
- 11/4/2011
- by Caroline Sullivan
- The Guardian - Film News
The lead character in The It Crowd star's new coming-of-age tale is refreshingly rotten. So here, writing exclusively for the Guardian, he chooses his A to H of antiheroes
When the Guardian finally came crawling, begging me to prop up its ailing fortunes by graciously condescending to write an article for its so-called "Guide", I was overcome with such a fit of anger at the wormy presumption of it all that I could scarcely finish my mid-morning muffin. But as I stared into the trusting eyes of the carrier pigeon they'd employed to deliver this wretched entreaty, I had a change of heart. Wouldn't this be a good way of trying to convince people to see the film I'd directed (Submarine: a coming-of-age comedy based on Joe Dunthorne's critically acclaimed novel, executive produced by Ben Stiller, and featuring original songs by Alex Turner) without looking like it was flat-out,...
When the Guardian finally came crawling, begging me to prop up its ailing fortunes by graciously condescending to write an article for its so-called "Guide", I was overcome with such a fit of anger at the wormy presumption of it all that I could scarcely finish my mid-morning muffin. But as I stared into the trusting eyes of the carrier pigeon they'd employed to deliver this wretched entreaty, I had a change of heart. Wouldn't this be a good way of trying to convince people to see the film I'd directed (Submarine: a coming-of-age comedy based on Joe Dunthorne's critically acclaimed novel, executive produced by Ben Stiller, and featuring original songs by Alex Turner) without looking like it was flat-out,...
- 3/12/2011
- The Guardian - Film News
Because, you know, why even bring up something such as "the pulp imagination of Eric Rohmer" when such a quality is never manifested in any of his films?
Or is it?
First, to the question of why even bring it up. Well, it's the pseudonym. Maurice Scherer, "Momo" to his pals, supposedly chose the name Eric Rohmer our of respect for two authors: Eric Ambler, the British and relatively respectable creator of spy thrillers such as The Mask of Dmitrios; and Sax Rohmer, the altogether more disreputable creator of that racist embodiment of the, ahem, "Yellow Peril," the arch-villain Fu Manchu. So he must have liked that kind of thing. You'd not likely get this from his films, which are peopled with largely refined and cultivated characters who almost unfailingly maintain a sense of good taste even as Rohmer is peeling back their façades and dissecting their rather silly and sometimes profoundly sad emotional cores.
Or is it?
First, to the question of why even bring it up. Well, it's the pseudonym. Maurice Scherer, "Momo" to his pals, supposedly chose the name Eric Rohmer our of respect for two authors: Eric Ambler, the British and relatively respectable creator of spy thrillers such as The Mask of Dmitrios; and Sax Rohmer, the altogether more disreputable creator of that racist embodiment of the, ahem, "Yellow Peril," the arch-villain Fu Manchu. So he must have liked that kind of thing. You'd not likely get this from his films, which are peopled with largely refined and cultivated characters who almost unfailingly maintain a sense of good taste even as Rohmer is peeling back their façades and dissecting their rather silly and sometimes profoundly sad emotional cores.
- 8/25/2010
- MUBI
The final film in Eric Rohmer's Six Moral Tales series is a thoughtful meditation on the meaning of commitment and excess in a highly regulated culture. Never did French New Wave master Eric Rohmer manage to narrativize his ethical concerns - actions partaken due to desire versus what is the societally condoned 'right thing' to do versus what is important to the well-being of his characters - so well as he did in his 1972 classic, Chloe in the Afternoon. The plot is beautiful in its simplicity: Frederic (Bernard Verley) is a Parisian businessman. He is (seemingly) happily married with child, and his wife Helene (played by his real-life wife Francoise Verley) is expecting another. He has his life in order - he allows himself fantasies about other women, but fantasies are all they are. Eric Rohmer Then, of course, a woman from his past steps into his life -...
- 8/23/2010
- TribecaFilm.com
The oldest member of 1960s France’s Nouvelle Vague, the late Eric Rohmer receives the retrospective treatment starting today, through September 3rd, at New York’s Walter Reade Theater at Lincoln Center with “The Sign of Rohmer.” Rohmer had a style all his own that was not really picked up on until many years later, and indirectly at that, arguably in the 1990s and now quite prevalently in today’s indie cinema. He started with an idea, and then created a film as an essay about that idea. This is the essence of film as art. Pictures like "The Kids Are All Right" and "Cyrus," likely unconsciously, are more mainstream and significantly less-intellectualized versions of Rohmer constructs. They each start with an idea, or conflict, and then we watch characters discuss that idea—with plot only functioning as a means to bring us different sides of the arguments. Highlights are...
- 8/18/2010
- IONCINEMA.com
I haven't seen Akira Kurosawa's 1963 "High and Low," which I'm ashamed about. I'm ashamed about a lot of things.I know that the movie is based on the book "King's Ransom" by Evan Hunter and the Kurosawa iteration is closely linked to Asian culture (sorry guys who actually know - I'm grasping at straws).In 1999 Martin Scorsese and producer Scott Rudin optioned a re-make and set David to write the film.Now, that project has re-surfaced with Chris Rock as the new writer and Mike Nichols (dir "Closer," "Charlie Wilson's War") on board to direct.I'm actually greatly in favor of this, because it's shaping up to be interesting. As far as Chris Rock's drama adaptations go, the only one that exists is "I Think I Love My Wife," which was a remake of "Chloe in the Afternoon."He's also starring in "Death at a Funeral," a re-make as well,...
- 4/13/2010
- LRMonline.com
Actor and comedian turned film producer Chris Rock has only just finished the remake of British comedy Death At A Funeral, which he produced and starred in, but he's already got his sights set on his next project: another adaptation, this time of 1963 drama High and Low, originally by legendary Japanese director Akira Kurosawa.
The funnyman has revealed that he is to replace David Mamet as writer, in a project first commissioned by Martin Scorsese back in 1999. It's not yet known whether Scorsese is still involved in the movie, which will be directed by Mike Nichols. In fact, very few details have been released about the remake, but it's understood that the plot will stick closely to the original movie's story of a businessman trying to make extra money in an effort to save a kidnapped child.
Taking on Kurosawa is a brave step, but Rock appears unfazed by such challenges,...
The funnyman has revealed that he is to replace David Mamet as writer, in a project first commissioned by Martin Scorsese back in 1999. It's not yet known whether Scorsese is still involved in the movie, which will be directed by Mike Nichols. In fact, very few details have been released about the remake, but it's understood that the plot will stick closely to the original movie's story of a businessman trying to make extra money in an effort to save a kidnapped child.
Taking on Kurosawa is a brave step, but Rock appears unfazed by such challenges,...
- 4/13/2010
- Screenrush
Updated through 1/18.
"Eric Rohmer, a pioneer of the French New Wave which transformed cinema in the 1960s," reports Reuters. "He was 89." As in the barrage of other first reports hitting the wires, the milestones are just touched on now, an outline to be fleshed out over the coming days. And weeks. And years. Born Jean-Marie Maurice Scherer in Nancy on April 4, 1920; first international acclaim with Ma nuit chez Maud (My Night at Maud's), nominated for an Oscar for Best Screenplay in 1969; founding La Gazette du Cinema with Jean-Luc Godard, François Truffaut and Jacques Rivette in 1950; editorship of Cahiers du Cinéma; the last film, Les amours d'Astree et de Celadon (The Romance of Astree and Celadon) in 2007.
"A former novelist and teacher of French and German literature, Mr Rohmer emphasized the spoken and written word in his films at a time when tastes - thanks in no small part to his...
"Eric Rohmer, a pioneer of the French New Wave which transformed cinema in the 1960s," reports Reuters. "He was 89." As in the barrage of other first reports hitting the wires, the milestones are just touched on now, an outline to be fleshed out over the coming days. And weeks. And years. Born Jean-Marie Maurice Scherer in Nancy on April 4, 1920; first international acclaim with Ma nuit chez Maud (My Night at Maud's), nominated for an Oscar for Best Screenplay in 1969; founding La Gazette du Cinema with Jean-Luc Godard, François Truffaut and Jacques Rivette in 1950; editorship of Cahiers du Cinéma; the last film, Les amours d'Astree et de Celadon (The Romance of Astree and Celadon) in 2007.
"A former novelist and teacher of French and German literature, Mr Rohmer emphasized the spoken and written word in his films at a time when tastes - thanks in no small part to his...
- 1/18/2010
- MUBI
One of the great masters of the French New Wave his no longer with us. Eric Rohmer passed away Monday at the age of 89. Rohmer was known for making movies about young, modern French people who fall in love and talk and talk and talk, spurring the infamous comment that his films were like "watching paint dry." But the secret of Rohmer is that, even though his characters are smart and educated and know a little something about human nature, they can't help themselves from succumbing to feelings of love and lust and jealousy, no matter how many words they use or how often they try to intellectually justify themselves.
That duality worked in almost all of Rohmer's films, which he tended to direct in specific groups. His "Six Moral Tales" is perhaps the most well-regarded, including La Collectionneuse (1967), My Night at Maud's (1969), Claire's Knee (1970) and Love in the Afternoon...
That duality worked in almost all of Rohmer's films, which he tended to direct in specific groups. His "Six Moral Tales" is perhaps the most well-regarded, including La Collectionneuse (1967), My Night at Maud's (1969), Claire's Knee (1970) and Love in the Afternoon...
- 1/16/2010
- by Jeffrey M. Anderson
- Cinematical
Chris Rock loves him some French cinema doesn’t he? This is the second French title he’ll be remaking. The first was the late Eric Rohmer’s L’Amour l’après-midi (Love In The Afternoon/Chloe In The Afternoon), which Rock remade as the horrible 2007 film I Think I Love My Wife.
Now Variety reports that Rock has optioned English-language remake rights to La premiere etoile (The First Star), directed by Lucien Jean-Baptiste, who also starred in it.
A comedy with a broad social commentary on race and class, 2009’s La Premiere Etoile is about a black family in France who leave their working-class hood to take to the ski slopes – something that’s considered a social faux pas in the stuffy, mostly white resort.
So, unlike Rohmer’s L’Amour l’après-midi, La Premiere Etoile already features a black family – a French black family, but a black family nonetheless.
Now Variety reports that Rock has optioned English-language remake rights to La premiere etoile (The First Star), directed by Lucien Jean-Baptiste, who also starred in it.
A comedy with a broad social commentary on race and class, 2009’s La Premiere Etoile is about a black family in France who leave their working-class hood to take to the ski slopes – something that’s considered a social faux pas in the stuffy, mostly white resort.
So, unlike Rohmer’s L’Amour l’après-midi, La Premiere Etoile already features a black family – a French black family, but a black family nonetheless.
- 1/13/2010
- by Tambay
- ShadowAndAct
Rock To Translate French Movie
Funnyman Chris Rock is set to translate another French movie for international audiences - he's planning a big budget remake of hit comedy La Premiere Etoile.
The film, about a black working class family who leave their home to tackle snobbery on the ski slopes, was a big hit in France and became the 10th highest grossing film in the country of 2009.
And now Rock has bought the rights to the picture, with plans to write a new English-language screenplay and produce the remake, according to Variety.com.
It will be the second French remake for Rock, who previously directed and starred in 2007's I Think I Love My Wife with Kerry Washington, based on 1972 French film, Chloe in the Afternoon, by late moviemaker Eric Rohmer.
The film, about a black working class family who leave their home to tackle snobbery on the ski slopes, was a big hit in France and became the 10th highest grossing film in the country of 2009.
And now Rock has bought the rights to the picture, with plans to write a new English-language screenplay and produce the remake, according to Variety.com.
It will be the second French remake for Rock, who previously directed and starred in 2007's I Think I Love My Wife with Kerry Washington, based on 1972 French film, Chloe in the Afternoon, by late moviemaker Eric Rohmer.
- 1/13/2010
- WENN
Rimbaud's mantra, 'one must be absolutely modern', guided the father of the New Wave, a director fascinated by France's bourgeoisie
The New Wave has just lost its father, and France a rigorous observer of his time whose films represented better than most what it may mean to be French. Ten to 15 years older than the Jean-Luc Godard, Jacques Rivette, Claude Chabrol, Louis Malle and François Truffaut, whom he would hire to write alongside him in the soon mythical Les Cahiers du Cinéma, Eric Rohmer, who died yesterday in his 90th year in Paris, had invented a completely distinct art form.
A graduate in classics and German and until the mid-1950s a professor of literature in provincial France, he always followed Rimbaud's mantra: "One must be absolutely modern."
In cinema, as a critic turned director (whose first film was made at the age of 39 in 1959), to him the poet's motto...
The New Wave has just lost its father, and France a rigorous observer of his time whose films represented better than most what it may mean to be French. Ten to 15 years older than the Jean-Luc Godard, Jacques Rivette, Claude Chabrol, Louis Malle and François Truffaut, whom he would hire to write alongside him in the soon mythical Les Cahiers du Cinéma, Eric Rohmer, who died yesterday in his 90th year in Paris, had invented a completely distinct art form.
A graduate in classics and German and until the mid-1950s a professor of literature in provincial France, he always followed Rimbaud's mantra: "One must be absolutely modern."
In cinema, as a critic turned director (whose first film was made at the age of 39 in 1959), to him the poet's motto...
- 1/13/2010
- by Agnès Poirier
- The Guardian - Film News
Idiosyncratic French film-maker who was a leading figure in the cinema of the postwar new wave
In Arthur Penn's intelligently unconventional private eye thriller Night Moves (1975), Gene Hackman's hero – who finds the mystery he faces as unfathomable as his personal relationships – is asked by his wife whether he wants to go to an Eric Rohmer movie. "I don't think so," he says. "I saw a Rohmer film once. It was kind of like watching paint dry."
Behind that exchange lies a jab at Hollywood's mistrust of any film-maker, especially a French one, who neglects plot and action in favour of cerebral exploration, metaphysical conceit and moral nuance. The Dream Factory, after all, had proved through trial and error that cinema is cinema, literature is literature, and the twain shall meet only provided the images rule, not the words.
Of the major American film-makers, perhaps only Joseph Mankiewicz allowed his scripts,...
In Arthur Penn's intelligently unconventional private eye thriller Night Moves (1975), Gene Hackman's hero – who finds the mystery he faces as unfathomable as his personal relationships – is asked by his wife whether he wants to go to an Eric Rohmer movie. "I don't think so," he says. "I saw a Rohmer film once. It was kind of like watching paint dry."
Behind that exchange lies a jab at Hollywood's mistrust of any film-maker, especially a French one, who neglects plot and action in favour of cerebral exploration, metaphysical conceit and moral nuance. The Dream Factory, after all, had proved through trial and error that cinema is cinema, literature is literature, and the twain shall meet only provided the images rule, not the words.
Of the major American film-makers, perhaps only Joseph Mankiewicz allowed his scripts,...
- 1/13/2010
- by Ronald Bergan
- The Guardian - Film News
Chris Rock has scored the English-language remake rights to 2009 French feature "La premiere toile" ("The First Star") says Variety.
The story follows a black family who leave their working-class hood to take to the ski slopes. That's considered a social faux pas in the stuffy resort. Rock will write the remake's screenplay and produce.
This isn't the first time he's done a French remake, his 2007 film "I Think I Love My Wife" was a remake of 1972's "Chloe in the Afternoon". Rock can next be seen in the British comedy remake "Death at a Funeral".
The story follows a black family who leave their working-class hood to take to the ski slopes. That's considered a social faux pas in the stuffy resort. Rock will write the remake's screenplay and produce.
This isn't the first time he's done a French remake, his 2007 film "I Think I Love My Wife" was a remake of 1972's "Chloe in the Afternoon". Rock can next be seen in the British comedy remake "Death at a Funeral".
- 1/13/2010
- by Garth Franklin
- Dark Horizons
Eric Rohmer, the French New Wave icon who specialized in films about young love, died yesterday in Paris. He was 89. His work included "My Night at Maud's" (1969), "Claire's Knee" (1970), "Pauline at the Beach" (1983) and "Chloe in the Afternoon" (1972). His final film, "Romance of Astree and Celadon," appeared in 2007. In 2001, he was given a lifetime-achievement award at the prestigious Venice Film Festival. His 50 or so films, which usually featured nubile French actresses, eschewed action in favor of cerebral conversation and romantic entanglement.
- 1/12/2010
- by By V.A. MUSETTO
- NYPost.com
Eric Rohmer, the New Wave filmmaker who made intimate, conversational films exploring deep moral and ethical themes with a simple elegance, died today in Paris at the age of 89. Like many of his colleagues in the French film movement, Rohmer began his career as a film critic, eventually becoming the editor of Cahiers du Cinema. Although he made his first feature in 1959, he became more widely known to international audiences in the late '60s and '70s, beginning with his Six Moral Tales, a series of six films which included his acclaimed My Night at Maude's, Claire's Knee, and Chloe in the Afternoon. Later films included Pauline at the Beach (part of his Comedies and Proverbs series) and A Winter's Tale (part of his Tales of the Four...
- 1/12/2010
- by Scott Macaulay
- Filmmaker Magazine - Blog
It has been announced French filmmaking legend and Cahiers du Cinéma editor and writer, Eric Rohmer, died today. He was 89 years old. It was announced by Agence France-Presse via the director’s producer Margaret Menegoz. Born in 1920, Rohmer was a key figure in both the legendary film magazine Cahiers du Cinema and in the subsequent cinema movement dubbed the “French New Wave”. It was that fiery generation’s aim to destroy and rebuild the terms of cinema in France. His debut feature, Signe du Lion, began a career lasting over fifty years. Unlike his fellow writers and subsequent directors Jean-Luc Godard, Alain Resnais and Francois Truffaut – Rohmer’s films appear unfussy and not interested in drawing attention to their own style. They often focused on a “series” such as Six Moral Tales, Tales of Four Seasons and Comedies and Proverbs. Many, such as My Night At Maud’s, Claire’s Knee,...
- 1/11/2010
- by Martyn Conterio
- FilmShaft.com
Eric Rohmer (Getty) Eric Rohmer, a member of the French New Wave who directed such films as "My Night at Maud's," "Claire's Knee" and "Chloe in the Afternoon," died Monday in Paris. He was 89. The cause of death was not known.
"Night at Maud's" (1969) garnered an Oscar nomination for best foreign-language film and best screenplay. His "The Marquise of O" won the Special Jury Prize at the 1976 Festival de Cannes.
Rohmer also wrote and directed "Pauline at the Beach" (1983) and "Full Moon in Paris" (1984). "Paris" actress Pascale Ogier won the best actress prize at the Venice International Film Festival, and the film captured a Silver Bear at the Berlin International Film Festival.
With a background in journalism, Rohmer's aesthetic bases were literary, not film. His ambition was, reportedly, to be the Honore de Balzac of film.
Rohmer was editor in chief of Cahiers du Cinema from 1956-63. He broke from...
"Night at Maud's" (1969) garnered an Oscar nomination for best foreign-language film and best screenplay. His "The Marquise of O" won the Special Jury Prize at the 1976 Festival de Cannes.
Rohmer also wrote and directed "Pauline at the Beach" (1983) and "Full Moon in Paris" (1984). "Paris" actress Pascale Ogier won the best actress prize at the Venice International Film Festival, and the film captured a Silver Bear at the Berlin International Film Festival.
With a background in journalism, Rohmer's aesthetic bases were literary, not film. His ambition was, reportedly, to be the Honore de Balzac of film.
Rohmer was editor in chief of Cahiers du Cinema from 1956-63. He broke from...
- 1/11/2010
- by By Duane Byrge
- The Hollywood Reporter - Movie News
Eric Rohmer, the French New Wave exile whose My Night at Maud's earned an Oscar nomination for Best Foreign-Language Film in 1969, died today in Paris. He was 89. Along with Maud's, Rohmer is especially famous for his subsequent "moral tales" Claire's Knee and Chloe in the Afternoon, the latter of which Chris Rock remade in 2007 as I Think I Love My Wife. More film cycles and series followed in the decades hence, winding down in 2007 also with The Romance of Astree and Celadon. His specific cause of death was not immediately disclosed. Two's enough for today, God; we'll keep the rest of our filmmakers for now, if You don't mind. [THR]...
- 1/11/2010
- Movieline
It has been announced French filmmaking legend and Cahiers du Cinéma editor and writer, Eric Rohmer, died today. He was 89 years old. It was announced by Agence France-Presse via the director’s producer Margaret Menegoz. Born in 1920, Rohmer was a key figure in both the legendary film magazine Cahiers du Cinema and in the subsequent cinema movement dubbed the “French New Wave”. It was that fiery generation’s aim to destroy and rebuild the terms of cinema in France. His debut feature, Signe du Lion, began a career lasting over fifty years. Unlike his fellow writers and subsequent directors Jean-Luc Godard, Alain Resnais and Francois Truffaut – Rohmer’s films appear unfussy and not interested in drawing attention to their own style. They often focused on a “series” such as Six Moral Tales, Tales of Four Seasons and Comedies and Proverbs. Many, such as My Night At Maud’s, Claire’s Knee,...
- 1/11/2010
- by Martyn Conterio
- FilmShaft.com
Paris - Eric Rohmer, a pioneer of the French "New Wave" which transformed cinema in the 1960s, has died, his production house said on Monday. He was 89.Les Films du Losange, a company that produced his movies, said Rohmer died in Paris on Monday. The cause of death was not known.Rohmer directed such films as "My Night at Maud's" (Ma Nuit Chez Maud), "Claire's Knee" ("Le Genou de Claire") and "Chloe in the Afternoon" (L'Amour l'apres-midi")."My Night at Maud's" garnered an Oscar nomination for best foreign-language film and best screenplay.His "Die Marquie von O" won the Special Jury Prize at the 1976 Festival de Cannes.Rohmer also directed "Pauline at the Beach" and "Full Moon in Paris," whose lead actress Pascale Ogier won the best actress prize at the Venice Film Festival. It won a Silver Bear at the Berlin International Film Festival.With a background in journalism,...
- 1/11/2010
- backstage.com
By Brent Lang
Éric Rohmer, the french "New Wave" director behind such notable films as "Love in the Afternoon" and "My Night at Maud's" is dead, his production house announced on Monday. He was 89.
Over a career that spanned more than four decades, Rohmer was nominated for an Oscar for "Maud's" and won a best film award at the 1970 San Sebastian Film Festival for "Claire's Knee."
In addi...
Éric Rohmer, the french "New Wave" director behind such notable films as "Love in the Afternoon" and "My Night at Maud's" is dead, his production house announced on Monday. He was 89.
Over a career that spanned more than four decades, Rohmer was nominated for an Oscar for "Maud's" and won a best film award at the 1970 San Sebastian Film Festival for "Claire's Knee."
In addi...
- 1/11/2010
- by Brent Lang
- The Wrap
'Wife' swap: Rock takes helming duty
Chris Rock has signed on to direct the comedy I Think I Love My Wife for Fox Searchlight. Charles Stone was slated to direct the Rock starrer, but he recently dropped out. Kerry Washington and Gina Torres have boarded the project, which begins shooting this month in New York. The film, a remake of Eric Rohmer's 1972 French comedy Chloe in the Afternoon, centers on Richard Cooper (Rock), a professional who is married to Brenda (Torres), with whom he has a young daughter. When his old flame (Washington) enters the picture, Cooper soon discovers he is in way over his head. Rock penned the screenplay with longtime collaborator Louis C.K.
- 5/14/2006
- The Hollywood Reporter - Movie News
Rock commits to 'Wife,' Stone for Searchlight
Chris Rock is set to star in I Think I Love My Wife, a remake of the French film Chloe in the Afternoon, for Fox Searchlight Pictures. Charles Stone, who directed 2002's Drumline, is in final negotiations to direct. Rock wrote the script with longtime collaborator Louis C.K., adapting Eric Rohmer's 1972 film, whose French title is L'amour l'apres-midi. Chloe depicted the life of a happily married office worker who daydreams about other women until he encounters the mistress of an old friend who tries to seduce him. Wife is set in present-day New York rather than Rohmer's Paris in the swinging '70s. "I'm a big fan of Charles Stone, who I've been trying to work with ever since I saw 'Drumline, ' " Rock said. "In the past year, I have made it a point to reach out to a lot of filmmakers whose work I enjoyed, and one person's name that kept coming up as someone I needed to work with was (Fox Searchlight Pictures president) Peter Rice. I can't wait to make a sophisticated comedy with all the good people at Fox Searchlight."...
- 2/22/2006
- The Hollywood Reporter - Movie News
Rock commits to 'Wife,' Stone for Searchlight
Chris Rock is set to star in I Think I Love My Wife, a remake of the French film Chloe in the Afternoon, for Fox Searchlight Pictures. Charles Stone, who directed 2002's Drumline, is in final negotiations to direct. Rock wrote the script with longtime collaborator Louis C.K., adapting Eric Rohmer's 1972 film, whose French title is L'amour l'apres-midi. Chloe depicted the life of a happily married office worker who daydreams about other women until he encounters the mistress of an old friend who tries to seduce him. Wife is set in present-day New York rather than Rohmer's Paris in the swinging '70s. "I'm a big fan of Charles Stone, who I've been trying to work with ever since I saw 'Drumline, ' " Rock said. "In the past year, I have made it a point to reach out to a lot of filmmakers whose work I enjoyed, and one person's name that kept coming up as someone I needed to work with was (Fox Searchlight Pictures president) Peter Rice. I can't wait to make a sophisticated comedy with all the good people at Fox Searchlight."...
- 2/22/2006
- The Hollywood Reporter - Movie News
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