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The New Yorker

| August 21, 2006 | Brody, Richard | COPYRIGHT 2006 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

SMOOTH OPERATOR -- The four feature films that Eric Rohmer directed between 1966 and 1972, "La Collectionneuse," "My Night at Maud's," "Claire's Knee," and "Love in the Afternoon," brought him international renown, based largely on their misinterpretation as placid, cerebral diversions. A new boxed set of Rohmer's "Six Moral Tales" (Criterion), which includes these four features, a remarkable brace of short films, and fascinating printed extras, suggests that the misunderstanding has occurred strictly according to plan.

Rohmer was born Jean-Marie Maurice Scherer in 1920, and took his alias for his film-related work in 1950 at the Cine-Club of the Latin Quarter, a crucial breeding ground for the French New Wave. Just as Scherer's life was taken over by his pseudonymous career, his films' distinctive style came to usurp their substance. Though Rohmer shows intelligent people behaving--and, above all, talking--with reasoned refinement, he hides an inner world of violently raging desires beneath his characters' intellectual games. In effect, Rohmer is a secret Sadean, a Surrealist manque.

The first shots of "La Collectionneuse" suggest the frenzy at the core of Rohmer's art: close-ups of the bikini-clad body of the adolescent Haydee Politoff, the man-collector of the title. Yet the film's sunlit, Impressionist beachside ...

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