Oh, how the ease of immediate communication, whenever, wherever, has changed in the 20 years since the setting of this film. And yet, some things remain the same...
In Éric Rohmer's "A Summer's Tale," Gaspard has just completed a graduate degree in mathematics and during the short end-of-summer weeks before he is to start his new job, he heads to a small village on the northern coast of Brittany with a mutually-agreed but vague plan to meet the object of his infatuation, Léna. The timing of her arrival is uncertain and she has left no way for him to be in contact.
And so he passes the days idly looking for her as he goes to the beach, walks, and dines at a local restaurant--where he catches the eye of the waitress, Margot. Later Margot spots Gaspard on the beach and flirtatiously engages him in conversation, which is the start of a series of get-togethers during which the two talk about past, current and unrequited loves. A third woman, Solène, enters the picture when Gaspard catches her eye at a party and she later invites him to visit with her family.
Léna finally arrives, and, when she and Gaspard meet by chance, she apologizes for her inability to announce the arrival, while dismissively adding that they found each other. It is apparent that Gaspard's interest is not reciprocated by Léna and thus begins a merry-go-round of meetings with each of the women, to further discuss love and plans to spend time together which lead nowhere.
Gaspard is handsome but nearly feckless in persuading any of the women in getting what he wants, and so he broods. And he caves to the various demands and flighty changes of plans by the women, to the end, when he makes a final decision of his own choosing which does not accede to any of the women's.
The circumstances of chance, planned and thwarted meetings and the way they play out is free of any false notes. The demands, the manipulations, the vacillations, Gaspard's palpable desperation are all artfully projected and utterly convincing. You feel at one time or other you have experienced some of the same confusion, frustration or angst, and you probably have.
The film is dialogue- and situation-driven. While some of the depicted Breton coastline is picturesque, there are no sweeping vistas captured. There is little in the setting to seduce the eye, the film feels low budget, and in fact, it likely could have been filmed anywhere scenic to similar effect, a credit to the script and acting.
The principal shortcoming is that the moping Gaspard is an uncompelling figure and so too are the women, two of whom are self-centered and manipulative. Only the infectious Margot displays redeeming qualities. It is a struggle to care what happens to any of the characters or how the story resolves itself.
Also, there are brief moments in two or three scenes in which direction of the actors seems apparent--one, for example, when Léna meets Gaspard on the beach before she castigates him and her body is nearly fully turned toward camera versus more partly to him, never mind the nonverbal language of dismissive rejection, and another during the all close-up footage of her and Gaspard playing volleyball.
In sum, a well-acted, well-scripted film, recommended for those who might have liked Richard Linklater's "Before Sunrise" and its two sequels.
In Éric Rohmer's "A Summer's Tale," Gaspard has just completed a graduate degree in mathematics and during the short end-of-summer weeks before he is to start his new job, he heads to a small village on the northern coast of Brittany with a mutually-agreed but vague plan to meet the object of his infatuation, Léna. The timing of her arrival is uncertain and she has left no way for him to be in contact.
And so he passes the days idly looking for her as he goes to the beach, walks, and dines at a local restaurant--where he catches the eye of the waitress, Margot. Later Margot spots Gaspard on the beach and flirtatiously engages him in conversation, which is the start of a series of get-togethers during which the two talk about past, current and unrequited loves. A third woman, Solène, enters the picture when Gaspard catches her eye at a party and she later invites him to visit with her family.
Léna finally arrives, and, when she and Gaspard meet by chance, she apologizes for her inability to announce the arrival, while dismissively adding that they found each other. It is apparent that Gaspard's interest is not reciprocated by Léna and thus begins a merry-go-round of meetings with each of the women, to further discuss love and plans to spend time together which lead nowhere.
Gaspard is handsome but nearly feckless in persuading any of the women in getting what he wants, and so he broods. And he caves to the various demands and flighty changes of plans by the women, to the end, when he makes a final decision of his own choosing which does not accede to any of the women's.
The circumstances of chance, planned and thwarted meetings and the way they play out is free of any false notes. The demands, the manipulations, the vacillations, Gaspard's palpable desperation are all artfully projected and utterly convincing. You feel at one time or other you have experienced some of the same confusion, frustration or angst, and you probably have.
The film is dialogue- and situation-driven. While some of the depicted Breton coastline is picturesque, there are no sweeping vistas captured. There is little in the setting to seduce the eye, the film feels low budget, and in fact, it likely could have been filmed anywhere scenic to similar effect, a credit to the script and acting.
The principal shortcoming is that the moping Gaspard is an uncompelling figure and so too are the women, two of whom are self-centered and manipulative. Only the infectious Margot displays redeeming qualities. It is a struggle to care what happens to any of the characters or how the story resolves itself.
Also, there are brief moments in two or three scenes in which direction of the actors seems apparent--one, for example, when Léna meets Gaspard on the beach before she castigates him and her body is nearly fully turned toward camera versus more partly to him, never mind the nonverbal language of dismissive rejection, and another during the all close-up footage of her and Gaspard playing volleyball.
In sum, a well-acted, well-scripted film, recommended for those who might have liked Richard Linklater's "Before Sunrise" and its two sequels.