La collectionneuse Screen 98 of 11 reviews

La collectionneuse

1967

La collectionneuse Poster
  • Rohmer’s greatest strength is that his lens is much longer, taking in the entire run of postwar permissiveness and disillusion. The real charms and pleasures of La Collectionneuse lie in more essential observations about taste and desire. Elegance can be a weapon. Better to search than collect. Without a greater purpose, intellectual contemplation is a form of nihilism.

  • For all its rivers of dialogue, La Collectionneuse is a remarkably tactile feature, of terry cloth robes against the skin, rocks under your feet, a shaft of light entering the room. Like most of Rohmer’s work La Collectionneuse has a piercing lucidity, conveying an understanding of background birdsong as well as the labyrinthine self-delusions of aging artist-lotharios.

  • The natural splendors of blue water, rocky shore, bright sky, and hilly terrain provide a serene setting for the eternal struggle of man versus man, man versus woman, and man versus his own worst instincts. Adrien is the film’s central consciousness and its narrator, and the personal price of his impending summer fling forms the core of Rohmer’s moral psychology.

  • Wise and aloof, contemplative and so discreet that its nuances fly by without the most careful of observation, Eric Rohmer’s La Collectioneuse defies all of the fashionable signposts of the French New Wave. It seeks to put a microscope to the affected machinations of young people, exposing the falseness beneath the facade rather than celebrating the art of role-playing.

  • La collectionneuse offers a fascinating portrait of an era and a sensibility; Rohmer is as interested in what the dandies of ’68 are saying as he is interested in how these young people talk, behave and interact with each other. The tangled links between intellect and emotions fascinate Rohmer, as much as the counter-cultural atmosphere of holiday dandyism.

  • Rohmer and Nestor Almendros instead showcase the full sensuousness of the courtly style, countless different tones of sunlight and a virtuoso sound design of birds, crickets, the offscreen whoosh of a plane and, above all, the teasing timbre of desire and uncertainty rising out of a low-key wavelength... A translucent comedy of procrastination, exquisitely wrought as a progression of sifting seductions that bellies a cutting punchline, the moral victory that might be Pyrrhic.

  • A strong, sensuously lush, deceptively slight film, a riviera fruit with a bitter, uncompromising aftertaste. In retrospect, it is both classically Rohmer-esque and atypical, as befits a film in which the director was still finding his way. The first full-length feature in the Moral Tales, the first one in color, the first collaboration between the director and his great cameraman Nestor Almendros, it is also more sexually explicit and linguistically gruff—less chivalric, if you will.

  • "LA COLLECTIONNEUSE" was made in 1966, before "My Night at Maud's" and "Claire's Knee." It is a fascinating film but decidedly inferior to the two later works, and it is to be regretted that it didn't open in sequence.

  • The third of Rohmer's six moral tales, and the first of his films to achieve wide recognition... Wryly and delightfully witty.

  • With his first feature, Le Signe du Lion, Eric Rohmer—like others of his colleagues before him—decisively effected the difficult transition from spectator to participant. But curiously, although La collectionneuse (Connoissuer) more than confirms his creative strength, it is, far more markedly than his earlier feature, a critic's film.

  • Rohmer's impossibly light, graceful way of posing profound moral questions hasn't yet wholly coalesced, though this 1966 film does have his soft, slow rhythm.

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