The Favorites - My Night at Maud's (#23)

The Favorites is a series briefly exploring films I love, to find out what makes them - and me - tick. My Night at Maud's (1969/France/dir. Eric Rohmer) appeared at #23 on my original list.

What it is • In the ancient, quiet town of Clermont-Ferrand, Jean-Louis (Jean-Louis Trintagnent), a Catholic convert, meets up with an old friend, Vidal (Antoine Vitez), a Marxist. Contesting the claims of faith, they are particularly captivated by the dilemma of Pascal's wager: the idea that one should choose the less likely but more rewarding prospect. Shortly afterward, Vidal introduces Jean-Louis to a charming divorcee, Maud (Francoise Fabian). The long conversation which unfolds in her apartment, as she invites Jean-Louis to spend the night - platonically or otherwise - is at once a protracted intellectual version of "Baby, It's Cold Outside" with the gender roles reversed (as I think CriterionCast pointed out) and a test of the philosophical question Jean-Louis and Vidal debated earlier in the film. Jean-Louis has already committed himself, mentally anyway, to Francoise (Marie-Christine Barrault), a pretty blonde whom he has never met but whom he fell in love with while observing her at Mass. Is she the one he is wagering everything on, sacrificing short-term happiness with Maud for an idealized marriage with her? Or is the other way around; is he going for the safe bet with this quiet, good Catholic girl (or so he believes) and missing out on a riskier but possibly more deeply enriching relationship with Maud? The film holds many ambiguities and conceals several tricks up its sleeve, but despite the cleverness of its overall shape and its fearlessness in articulating every concern (My Night at Maud's has long been synonymous with "talky film") this is also very much an exercise in atmosphere. Like all of Rohmer's Six Moral Tales - this was titled as the third, but released as the fourth - the film is gorgeously shot (in this case and several others by Nestor Almendros) and makes beautiful use of its evocative location. The Moral Tales may be aggressively verbal, but they are also luminously visual.

Why I like it •

Fragments of Cinephilia, Pt. V

If you're looking for further details on the Maya Deren video I just posted on YouTube, here is the blog post mentioned at the end.

Short thoughts on: Fists in the Pocket • Michael Medved • Goodbye, Mr. Chips • Russian Ark • My Night at Maud's • Claire's Knee • Paris Belongs to Us • 2 or 3 Things I Know About Her • Jean-Luc Godard • Europa '51

I've become a broken record on this subject, but I swear that within a few weeks I will have a huge backlog of Monday posts, more than I know what to do with - including a video that relates to the above picture. January is going to be very busy (although the work is mostly done, I'm waiting for other sites to cross-post). Unfortunately at this moment an interview, a guest post, at least four videos, and a podcast appearance are all waiting in the wings rather than in the bag. (That said, I did finally upload the "Cinepoem" video I blogged about back in November.) So I'm turning to one of my old standbys today, the archival of my old IMDb comments, where my online film commentary began. I've done this four times before, each time moving a bit further into the past. Some of these comments are actually almost a decade old, so be advised that they may no longer reflect my opinions (hell, I even left in some of the typos!). In many cases they represent my first engagement with the work in question, as a 23-year-old hungry for as many cinematic experiences as he could devour.

In fact 2006-07 was in many ways a peak viewing period for me; I was falling back into cinephilia after many years of caring more about music than movies. Most of the topics below relate to mid-century European films, particularly French filmmakers like Rohmer, Rivette, and Godard. Some of these films I loved, some I did not, but all of them seemed to me worthy of discussion - and still do. I would like to hear your thoughts as well, if you've seen these films (and if you haven't, I hope this serves as encouragement). Did Fists in the Pocket surprise you? Is Europa '51 too didactic? Does Goodbye Mr. Chips need a stronger narrative throughline? Is Rohmer subtly encouraging us to criticize the protagonist of Claire's Knee? Is Godard an incredibly consistent genius, an emperor with no clothes, or a hit-and-miss experimenter? Let me know what you think, and I'll let you know where I do and don't agree with the old me.

(I originally used a different image, culled from a Wonders in the Dark post several years earlier, but I replaced it with this one in 2017 when I cross-posted that Wonders piece on this site.)

Shadow of '68 1968 - 1969 • "32 Days of Movies" Day 18

The eighteenth chapter in "32 Days of Movies", an audiovisual tour through 366 films
(2015 update: included Vimeo embed after the jump)

View "Chapter 18: Shadow of '68"

Shadow of '68

For four chapters, the energy of the sixties built and built, until yesterday it exploded, the sort of explosion that only builds upon itself, growing larger and larger. Today, in the chapter representing 1968 - 1969, we might expect to find its climax. After all, the whole world was in the throes of uprising, revolution, war, changing consciousness, rebellion - from the Tet to May '68 in Paris to the Prague Spring (and subsquent repression) to Chicago to...well, you all know the litany.

But on this screen today you'll find few Molotov cocktails, little long hair, no drugs. There'll be plenty counterculture tomorrow, in the last sixties entry, but today's chapter embodies cool restraint, dark intensity, and collected contemplation. Several scenes feature suited squares acting as if the whole world isn't falling down around them. This is not the surface tumult we are all familiar with, but rather its shadow, in several senses.