The Green Ray

Something new on the screen! The sun shines, the wind blows, the clouds scud but it never rains. The treetops shiver in the melancholy gusts, the people gasp and murmur and gesticulate, and tears run down our heroine's cheeks. Again and again her face contorts as her fragile boat grinds on the rocky bottom.

A frustrated secretary lives for love. When a chance encounter informs her of the green ray, she is enamoured, thinking that this controversial phenomenon will bring the psychic clarity she so needs. She has so little self-esteem that she identifies with everything around her, she is somehow somewhat egoless, a pair of eyes, a pair of ears, a tortured heart. Her frame is delicate, almost skeletal. Fear is eating her soul.

She cannot reciprocate the robust friendship of one group of people due to her delicate vegetarian outlook (which she paradoxically defends with great vigour and the most articulacy she summons in two hours on screen). But she is excluded also due to the delicacy she cannot control (her sea-sickness, her love-sickness...) Wherever she goes, in fact, she cannot make friends. The ski bums of the alps treat her with relaxed cool cordiality but she leaves immediately because, she says, "I know that place". The implication is that she thinks she's leaving because the place is decadent and full of one night stands but that the underlying reality is of her not being able to stomach any reminder of herself. She wants to be reborn with a childlike clarity in the last miraculous light of the dying sun. This emphasises a cycle of small deaths and rebirths - falling into and out of love, leaving home, coming back again, leaving again.

This film is deeply concerned with one person and may seem obsessive, but it's one way of looking at life and has of course many resonances for our self-obsessed selves. Of course we cannot escape from ourselves, though we can expand that self so that it is not so claustrophobic to live in.

Watching the film,we keenly feel the same inevasible loneliness as the heroine Delphine.While trivial conversations keep going and going(seems non-stop for ever),the loneliness become more and more intolerable.No one can,or is ready to,understand others(even being friends).Then Delphine's every attempt to communicate has to get dissolved in pretence and indifference from others.It's the common situation shared by everyone who still hold his/her dreams like Delphine.

Rohmer has considerable mercy to show the final appearing of "Le Rayon Vert".£¬It offers us some redeeming hope so that we can collect our confidence and faith in life to looke for "Rayon Vert" of ourselves.Maybe we will be still waiting in the final twilight of life,but our dreams will remain beautiful and vivid the same,right?

In the film,Rohmer shows more sympathy and affection on his characters than usual,much considerately as we see.Of course I just watched a few from him.This time I see none of the distinct irony(sometimes acrid) in formers.

btw,the actress Marie Riviere portrays "blue" Delphine perfectly.And I surprisedly find her also in "Writers",along with Rohmer. Expect more from them.

We have been conditioned as a culture to believe that happiness lies in an ideal, future state. For example, we think it will all turn out when we finish school, when we get a job, when we get married, when we have children, then when we get divorced, or when we retire. It is always something or someplace more, better, or different but the more things change, the more they seem to remain the same. In Summer, aka The Green Ray, one of Eric Rohmer's most insightful and charming films, Delphine (Marie Riviere) is a young, intelligent, and good-looking Parisian secretary who has spent her life looking for "Mr Right". Like many who spend their life "searching", she is a perfectionist who keeps people away by maintaining impossible standards, then feels inadequate and unloved when things do not work out. She is interesting rather than interested.

When vacation time comes, her girlfriend goes to Greece with a boyfriend and she is left alone and feeling rejected. Turning down an offer to visit Ireland with her sister's family, she decides to take a trip to Cherbourg with a friend and her boyfriend, and does her best to fit in but it only leads to more frustration. After her friends prepare an elaborate dinner she tells them that she doesn't meat, seafood, or eggs and prefers vegetables like lettuce because they make her feel "light". She won't go sailing because it makes her seasick and she refuses a gift of apple blossoms because she thinks it's wrong to tear such large branches from trees. Rohmer impeccably captures Delphine's intense loneliness, a feeling of isolation that is even more pronounced when the people around you are doing what they think will make you happy. Near tears, she returns to Paris after only a few days in Cherbourg, then visits the Alps thinking she will go mountain climbing but she stays only one day.

When Delphine borrows a friend's apartment in Biarritz, however, she does settle down long enough to unpack. In Biarritz, the story is pretty much the same, however. Delphine says that she wants to meet people but when the opportunity arises in the form of two young men and Lena (Carita), a young Swedish blond, she runs the other way, although from all indications, leaving seems to be the most sensible option. Lena advises her to play cat and mouse with men. "It's like a card game", she says, "you can't reveal your hand right off". Delphine uses this piece of advice as another reason for beating herself up. "My hand is empty", she declares.

Delphine doesn't seem to believe in much, but, like many lonely people, she looks for signs that things are going to turn out all right. She is fascinated with playing cards and when she finds a green card lying in the street, she knows that green is her color of destiny for this year. While strolling the beach at Biarritz she overhears a conversation about a Jules Verne novel about an atmospheric phenomenon known as the Green Ray and she is mesmerized. According to Verne, just before the sun sets below the horizon, if you can see a burst of green light, it will help allow you gain an insight into your true self.

A synopsis of the plot, however, tells us little about what actually goes on in this mostly improvised film. Like most Rohmer works, what happens in the silences is more revealing than in the conversations. An entire world is written in the gestures, the facial expressions, and the nuances that reveal each character's personality. Summer is an intimate story of a woman's loneliness that rings true and brought back a flood of painful memories for me. Delphine, for all her warts, is very human. Somewhere up ahead always looks better than right here. When she can open herself up to the perfection of the moment, however, she becomes directly present to the world and can share its ineffable beauty.

It is not unreasonable to say that Rohmer's films are without par. No director has ever come close to his exquisite and acute observations of the human psyche, and so Rohmer's films are probably only comparable to each other. I find that the more films of his that I watch, the more I am able to see each film clearer. It is no wonder that out of the directors that emerged from the French New Wave, only Rohmer has been able to sustain critical acclaim for his films consistently.

Many detractors find fault with his style -- there is little or no music, the plot is only a very very rough skeleton of what actually goes on in his films (as it takes a backseat to exploring the psychology of his characters), there are many moments of silence, and those moments of dialog are mostly ramblings about philosophy, love, and life instead of plot advancement. Well, I find it quite difficult to articulate the charm of his movies too, since he isn't particularly flashy in his writing or his direction.

His films are largely introspective, drawing us in to view the character's psyche instead of the events that happen to him, as such his films are always introverted and quiet, where it seems nothing much happens. At first glance, the lead characters of his films seem to be all from the same mold: gloomy, quiet people who are extremely prone to making fickle choices and outbursts of emotion. But the more Rohmer you see, the more likely you'd be to distinguish a pattern among them and their distinctive traits in his characters.

They are always caught in a 'limbo' for lack of a better word, usually either caught between two choices that may tear their lives apart or make them better, or caught between two emotions that are pulling them in totally different directions. They are often afraid to take the leap, take the risk in deciding which point of action to make, and thus the films largely comprise of them searching for themselves, their identities, their desires and their wishes. They are as equally clueless about themselves as we are about them initially, and so it is folly to attempt to analyze them at the beginning. And as the film progresses, they learn more about themselves and perhaps we might learn a little more about ourselves too after we have gone through the same emotions and internal struggles with them.

That every lead has a distinctive trait is what separates his movies from each other. Each one of them is stuck, and exemplifies the different nuances of our struggles, and so they might all appear gloomy but they vary in their intents and sentiments. In The Green Ray in particular, the lead character is torn between the craving for solitude, and the unbearable loneliness that comes with it. To say I relate to it probably cheapens the film to a certain extent, but it is the best I can say with Rohmer's films. They portray a small corner in our lives that we have been before, that it is impossible to say any less. The fact that he is able to take each corner of our lives (and its accompanying mood) and blow it up on the big screen into a full-length feature film that is neither didactic nor ever fully reassuring, shows the mastery of his craft. Like us, he is unsure and searching, and he portrays that in his films beautifully.

All of his oeuvre is definitely worth watching, (save for the god-awful La Collectioneuse, one can only assume that he was going through a shitty state of mind when he was making that pretentious junk), and the best thing about Rohmer is the more films you see of him, the more you see in his films. The reason why I singled out The Green Ray (or Summer on the US DVD), is because of its brilliant lead actress Marie Riviere, which is not only immediately likable, but also painfully personal. Her journey is one that I can slip on comfortably anytime, with an ending that is equally sublime as it is magical. I don't want to spoil it for anyone who is intending to pick this up, but let's just say that it is probably one of the greatest moments of cinema that I have witnessed in my short life. To be able to capture it with such beauty and in such a context, not only offers a respite from the turmoil that we (the lead character and I) have gone through, but also a hope of self-discovery and awareness, makes this gem a great slice of cinema.

Rohmer´s movies show ordinary people in common situations,

discovering the magic, the loneliness, the doubts and passions that hide behind the dull façade of modernity. There are no superstars, there´s no great music, there aren't magnificent dialogues, just real, natural, ordinary images that become extraordinary precisely because of their simplicity. In the "Rayon Vert", the image of a young woman hearing the noise of the wind in a rural landscape that brings her face to face with the dreaded consciousness of her loneliness, is one of the greatest movie scenes I´ve seen in my life.