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Marquise of O |
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After Eric Rohmer completed his "Six Moral Tales," and before launching into the "Comedies and Proverbs," he tackled two projects very different from anything else in his career. In the first of these, The Marquise of O, based on the novel by Heinrich von Kleist, Rohmer leaves the young intellectuals of Paris for Italy during the Napoleonic wars. During the Russian invasion, the beautiful young marquise (Edith Clever) is saved from certain assault by a handsome and dashing count (Bruno Ganz). She spends the night guarded by her chivalrous savior, who returns months later to rather insistently court her. Only when he leaves does she discover that she is, unaccountably, pregnant. Rohmer's style is both more lush (shot in rich colors by Néstor Almendros) and less intimate than his previous romantic comedies, directed in painterly compositions at a removed distance. Unlike the self-obsessed young adults of his modern films, the count and the marquise act out of moral duty and social responsibility, and their actions reverberate through family and community. Yet this is still a Rohmer film, filled with carefully tooled dialogue (spoken in German) and informed by irony. The story of innocence and corruption, and the shades that lie within even the best of men, ends on a note of delicate forgiveness and understanding. Rohmer followed this with an even more unexpected stylistic experiment, the beautiful and beguiling Perceval. --Sean Axmaker
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