The Aviator's Wife

Now I can safely deem I have reached an approximate age to watch Rohmer's canon, mid-30s is a ripe age to broach more cerebral film viewing activities, so my first and random pick is THE AVIATOR'S WIFE, Rohmer's first part of Comedies et Proverbes (6 parts in all) series.

The film is capsulized in one-day's span, Francois (Marlaud), a young student whose night shift makes the relationship with his girlfriend Anne (Rivière) in strain, after witnessing Anne left with her ex-lover Christian (Carrière) from her apartment in the morning, and later a sour altercation with Anne, a jealousy-driven Francois compulsively follows Christian and his blonde companion (Caillot), and by happenstance he meets a 15-year-old schoolgirl Lucie (Meury), the two improvise an amateurish but perky private detective team until they find out Christian goes to visit a lawyer. After Lucie departs, Francois visits a stress-inflicted Anne, it seems they reconcile and Francois figures out who the blonde is. When the night falls, Anne is out for an exhausting date and Francois accidentally finds Lucie kiss another boy, so he sends a postcard to her and put a closure to their stalking adventure, the story ends.

There is no big twist or melodramatic plots in Rohmer's film, he masterfully recounts the dribs and drabs of emotions pestering one's relationship and daily lives, visceral and empathetic, he unerringly captures the quirks and fluctuations of the characters he writes, no larger-than-life frills, everything returns to an authentic basis which reflects its transfixing mojo, for example, the intricate discovery of the blonde's identity is casually schemed, but never condescending or audience-pandering, truth reveals itself in its most trivial form, also in the park, when Lucie intends to take a Polaroid from two tourists, it is lifelikeness never feel redundant in spite of its overlong progress which would be trimmed in most cinematic presentations, but Rohmer is confident to let his audience to savor the subtle interactions among the players and keeps it vibrant.

The sad trivia of the cast is Marlaud would soon die in a tragic camping tent fire accident after completing this film, he was only 22, in the film he interprets a sensitive and diffident boy, who is smitten with Anne, an independent working girl 5 years older than him, their on-and-off rapport is under close scrutiny, and Rivière takes on a more difficult role and dominates the screen especially during her expository declaration of her credo in self-reliance in her tiny apartment. Meury is a delight in the midstream, maybe too quick-witted for a 15-year-old, but her natural self-confidence could easily win audiences over.

The titular wife only exists as a glimpse on a picture, whose back-story would illicit another film feature to expound an existential individual's philosophical quandary about affection and compromise. Sadly, there is no Rohmer in this world anymore.

A gem. I don't usually like Rohmer's films, but this one is wonderful, even though some may feel the plot is extremely slight. But the texture, the wonderful actors, the capture of the small details of life made this an unforgettable movie.

The haunting song, ' Paris m'a seduit ' leads the viewer into the film and out of it, and it is one of the most beautiful songs I have ever heard. We meet a young man played by Philippe Marlaud ( a tender performance sadly to be his last ) and from there in the duration of one day we meet brief acquaintances, who pass by and a woman he elusively loves. I saw it as a whole life with its morning, its day and its night. And the background is Paris; city of strangers, city of hope and pain and above all a city which seduces with promises rarely fulfilled. But Rohmer clearly passionately loves Paris and his camera magically probes what it is able to perceive and finally the crowd of the city engulfs the characters, and gently the camera withdraws. Marie Riviere clearly one of Rohmer's favourite actors is the woman loved, and her presence epitomises the changing mood of the city from laughter to tears, and what a great actor she is. Her long scene during the night of the day with Philippe Marlaud is superb and one of Rohmer's greatest. A film to watch again and again and each time there is an image that seduces. Like a favourite artist I always return to Rohmer's visions of existence and as Paris seduces so does he. Was he France's finest director ? I believe he was and in this new era we are in he should be returned to like a long lost friend forever enchanting us with a world that was once our neighbour.

THE AVIATOR'S WIFE - Eric Rohmer / France 1981 (3.5 STARS) 15 December 2003: It is always difficult to get overtly excited about an Eric Rohmer film or make any relative comparisons with conviction - Eric Rohmer's works are almost like Jazz music, delicate in their appeal and full of irony, yet not given to the charts. The Aviator's Wife, the 1st in Rohmer's series of Comedies & Proverbs is subtle like poetry by full of the irony of urban existence. Set in his hometown Paris (as most of his films are), this is a film about a young woman's insecurity about growing old lonely, and a young man's obsession with the slightly older woman. Artfully made with a color palette that seems to reflect the hues of the lives of the characters, the film is talkative yet reflective and insecure with a certain confidence. . Mise-en-scene: The character's motivations are developed with painstaking detail in an attempt to build characters that we may grow to either love or loath, but irrespective respect as real people. I was drawn to the young man's character in particular and to his singularly obsessive personality even though he was gentle and carefree at first sight.

. The older woman was so typically stereo cast as idiosyncratic, intense and detached in a manner only the French can be. In the final scene one feel for the boy when he discovers that the young girl he meets on the bus has been feeding him all along, but before we have time to react, Rohmer makes a comic joke of the situation by spinning the movie into a loop so that we end up almost where we started, except that we've got a different man that the protagonist is trailing this time around. . The Cinematography, is bland, almost dogma like (way before the birth of Dogma- this is 1981), and there is almost no emphasis at technique beyond functionality. Yet sound is used to haunting effect, with ambient sound playing a potent character. Whether this was because of poor on location sound or whether this has been used as a stylistic element to enhance the narrative is however difficult to tell.

It's hard to explain what exactly is so appealing about the films of Eric Rohmer. A plot summary of any of his films would surely make it sound like a dull affair or possibly even a soapy melodrama. Rohmer's films aren't about plot, however, one might even say they defy plot. Instead of focusing on conventional narrative, Rohmer concentrates on his characters. This is not to say that Rohmer chooses to show extraordinary individuals; the strength of his characters is actually in their ordinariness. His characters seem like people I really know or at the very least like people I might encounter. These characters aren't dumbed down or simplified to be more universal, either; each seems like a uniquely realized person.

The Aviator's Wife is about Francois, a Parisian college student/mail sorter and his relationships with his older girlfriend Anne (who he suspects is cheating on him) and Lucie,a younger girl who picks him up in the park. Throughout the film we come to know both the flaws and strengths of these three characters, each of whom is curious (albeit for very different reasons) about a certain aviator and his wife. Francois is naive and clingy but very kind natured, Anne is strong but cruel, and Lucie is cheery and intelligent but also dishonest and coquettish.

The Aviator's Wife is the first of Rohmer's six "Comedies and Proverbs" films. The proverb this time around is: "It is impossible to think about nothing." Within the context of the film this seems to refer to the inability of some of the characters to understand the significance (or lack of significance) of the things they hear. This theme works well enough but the film as a whole fails to be as captivating or as interesting as the previous Rohmer films I've seen (those being Pauline at the Beach and The Green Ray). This is especially apparent in the bedroom scene near the end of the film which goes on too long. Still, the comical ending was a fun surprise.