Full Moon in Paris Screen 5 articles

Full Moon in Paris


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  • Eric Rohmer's shift from a subjective to an objective viewpoint for his “Comedies and Proverbs” series brought with it a gradual darkening of tone: his characters no longer live in a world colored by their personal attitudes and expectations, but are trapped in a universe that blankly refuses to take their desires into account. Full Moon in Paris (1984, 101 min.), the fourth in the series, is bleaker than any of its predecessors.

  • Accusations that the film is too literary or verbal miss the point entirely: performance, decor and composition - not to mention narrative structure - are all at the service of the film's meaning, perhaps most notably in a marvellous party scene where the body language of dancing and glances speaks volumes.

  • Out of this Lubitschian tangle Rohmer finds Le Beau Mariage in reverse, and couches it in terms of pure rhythm still unappreciated by bookish critics.

  • Full Moon is deeply poignant to watch again, especially, if like me, you had it bad for Ogier at the time. In 1984, she seemed impeccably glamorous, in a witty, wildly offbeat way; seen today in Full Moon, she looks oddly awkward and childlike, especially with that high-pitched sing-song voice that some French actresses (but by no means all) contrive to use to great effect.

  • The fourth and most emotionally tumultuous of the elder statesmen of the nouvelle vague’s “Comedies and Proverbs” series leans closer to the moralistic than the humorous half its thematic epithet... Shot in Rohmer’s typically unadorned style, with an emphasis on dialogue and situational irony rather than decorous mise-en-scène, the film arrives very subtly at a climax all the more devastating for its inevitability.

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