Claire's Knee

Well, I came across this movie while reading Roger Ebert's Awake in the dark and thankfully was able to get a chance to get a hold of Éric Rohmer's masterpiece Claire's Knee. I hadn't read Ebert's review (usually I watch a movie before going through the reviews) so was not sure what was I going into - haven't watched any trailer as well so I was not sure what this would be about, but with my experience with foreign movies I was sure it would be good and I guessed by the name that it suggested something like Lolita or many other movies based on such abnormal (sometimes immoral) desires.

So, when you start with the movie you are somewhat aware where this is going - the expected storyline basis the title- but soon comes to these well-performed characters and while getting engrossed in the discussions between characters on love, choices, life, etc. you get more understanding on the way each of them sees the world - what they desire? what they like? and why they do so? The great part with such discussion was that first, it didn't go into a preachy tone- that x is right and y is not, each of them had their views which they justified by their past or by their behavior - it reminded me of the Before trilogy and, second, while listening to such great lines, one start thinking and contemplating of one's own stand on the topic of love, moral & desires.

There is a scene where the protagonist talks about a notion where he as a person do not have desires on the beauty aspect of women but because of a character his friends ask him to play, he started thinking like that character, and somewhere knowingly or unknowingly he too as a person starts to have those desires. The beauty of this notion is that this happens to the viewer as well, you don't look at claire's knee or her in that sense- but because the movie tells you that this is important - this is beautiful - and to be desired you look for it in that passionate way. You too, play the character in the movie.

I think the moral point of "Claire's Knee" (probably not Rohmer's) is that Jerome's conversion from womanizer to a serious and challenging relationship with Lucinde, is flawed. And that the flaw is his invoking the escape hatch of an "open marriage." He (or his new persona) half believes that he will not use it, but the accidental presence of two enticing teenagers at his Lake Annecy vacation sets the stage for his self-delusion, his devaluation of intimacy, and for the resurfacing of his sensuous ways.

For "open marriage" as a cover for "adult," is really another form of ambivalence and duplicity. What it means to Jerome is that the door of puerile fantasy is at his fingertips. Thus in the rarified air of Annecy, in the flow of summer, thin, mod teenagers Laura and Claire become not only sex objects to Jerome, but potential love partners--one at 16, assessed as adult enough, and the other 18, assessed as legal. We see them together, he invariably clothed for late autumn weather, they for mid-summer. In the emotional cat and mouse games that ensue, Laura and Claire are, to him, mere temptresses, and perhaps part of a self-test, and not, in any sense, young women with lives of their own & chosen boy friends. Instead, their boundaries begin to blur under his voyeurism, his not so subtle acts of aggression, his familiar touching, fondling, pointed remarks, and prescriptive suggestions. He offers them no affection, no friendship, and no communication.

How could it be otherwise given their demure youth, beauty and his permissive "open marriage," and when possessing them is his goal--pederasty and fetishism his means. But his fling with inspiring youth having fulfilled his KNEEDS, he can now discard Laura and Claire without in any way having deviated from his new mature male role-- as willfully possessive as he's been. Whether Lucinde has actually signed off on the "open" deal or not, she, despite her maturity, worldly success, and her sculptured character, must be no more than a symbol to Jerome, extracted for his KNEEDS, which must come first before commitment and support.

one of the most beautiful movie by Rohmer. when I saw this film for the first time i was in Brasil (Saao Paulo) and the movie was whistled at the end of the performance by the assistance. In fact, I found the movie a little bit ridiculous and native. i reviewed this movie on TV, a few years later, in France, and was then enthusiastic. I've since become a fan of Rohmer and I've seen nearly all of his films.

This is one of the best movies of Rohmer's earlier series of moral tales. The movie wonderfully depicts the complicated relatioship between the hero and his desires, represented by Claire, and the reality of Claire's younger sister, who as masterfully played by Beatrice Romand. This is a wonderful comedy of manners, in which we can laugh at all the characters, how in their attempts to fool others, they only fool themselves. Rohmer has intricately plotted every action, I enjoyed every moment of the film.

Like most of Eric Rohmer's work, you will either enjoy the laid-back atmosphere and chatty characters in Claire's Knee, or find it all incredibly boring. I happen to love them. It's rare to find movies that don't want to be sensationalistic and violent, but would rather present universal questions and then investigate them throughout the course of the movie.

I would recommend Love in the Afternoon as an entry into Rohmer however, as it is a little more pacey for those unfamiliar with his style. And my personal favourite is "The Green Ray"... but don't start there as the subject of the film is about boredom!