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La collectionneuse (1967) Plus avec IMDbPro »
17 utilisateurs sur 17 ont trouvé ce commentaire utile :
Razor-sharp and light-footed analysis of emotional vanity, 28 novembre 1998
Auteur : Joep Leerssen (j.th.leerssen@hum.uva.nl) de Amsterdam, Pays-Bas
Art dealer, in need of serenity, finds that the holiday villa is shared by a hedonistic young woman. He becomes obsessed with ignoring her and pretends to himself that she wants to seduce him while he remains unaffected. The holiday thus turns into a love triangle between the indifferent but flirtatious girl, the man's unacknowledged desire, and his incessant, pompous self-rationalizations (the best cinematic use of voice-over EVER!). A sunny, witty, and deeply ironic "moral tale" that explores, like most of Rohmer's work, the uneasy vacillation between intellect and eroticism.
18 utilisateurs sur 21 ont trouvé ce commentaire utile :
Charm and Guile between the Sexes, 17 avril 2004
Auteur : ilpositionokb (silverlion03@yahoo.com) de Central California
"La Collectionneuse", the third film in Eric Rohmer's six moral tales, is packed with lacerating observations on life, love, and the nature of man. It is a sensitive conversation piece with elegant people commenting poetically on their lives and of those around them. Attractive men and women who reflect openly about the conflicts of intellect and impulse; inclination and action, solitude and companionship. Rohmer characteristically paces this eloquent tale of sexual temptation with long, fluid takes. "La Collectionneuse(Collector Girl) centers around a young, hedonistic girl(Haydee) who saunters laconically around the provincial environs of a large vacation home, seemingly indifferent to the two older men's(Adrian and Danele) existence. Haydee exudes a casual independence and an unflappable reserve. Her cursory dealings with her young lovers prompts Danele to cast her as 'the atrocious ingenue'. Though they find her unexpectedly alluring, both men regard 'the idea of collecting boyfriends opposite of purity'. Rohmer, the director of "Chloe in the Afternoon" and "A Tale of Springtime", enjoys revealing which individual can best cast their charm and guile to their best advantage. This 'game' between the sexes only leads to unwanted desires for the men and a resumption of her search by Haydee. Rohmer handles the material with a light touch throughout and concludes his story by offering a tenuous solution to the prevailing tension in the movie between one's solitude and fraternity. Adrian privately confesses that 'I was overwhelmed by a feeling of delightful independence, of total self-determination. But in the emptiness and silence of the house, I was overcome with anguish'. A universal truth clearly-rendered by one of cinema's most ingenious and graceful filmmakers.
13 utilisateurs sur 18 ont trouvé ce commentaire utile :
Everyday life elevated into art, 12 avril 2005
Auteur : Howard Schumann de Vancouver, B.C.
In The Collector, the first feature-length film of the Six Moral Tales series, mind-games, strategies, and overt manipulation thwart the possibility of satisfying relationships. The 54-minute film is beautifully photographed and has an elegance, charm, and wit that bears favorable comparison with his more acclaimed works. Adrien (Patrick Bauchau), an art dealer, and Daniel (Daniel Pommereulle), a painter spend the summer in a house on the French Riviera. Also vacationing there is Haydee (Haydee Politoff), an elegant but rather aloof young woman who sleeps with many boys in the area and has earned the title of "collectionneuse", a collector of men. Adrien, smug and self-centered in a charming sort of way, is interested in Haydee but tells himself that her promiscuity is a trick for him to seduce her and he refuses.
The summer turns into a love triangle with Adrien convincing Daniel to pursue Haydee to ease the pressure of his own conflict between his rationalizing intellect and his passions. In the moral scheme of things, Haydee may represent the sexual revolution of the 60s and Adrien that of traditional morality, yet the film takes no sides, presenting the issues without judging the characters and giving us much to think about. The Collector is perhaps the most philosophical of the six but in the end the pursuit without passion leads to a feeling of emptiness and missed opportunities. Like most of Rohmer's films, there are no peak dramatic moments or confrontations, just everyday life elevated into art.
8 utilisateurs sur 9 ont trouvé ce commentaire utile :
Venus and Two Mercurial Men, 8 septembre 2006
Auteur : nycritic
*** Ce commentaire peut contenir des spoilers ***
LA COLECTIONNEUSE is Eric Rohmer's first color feature, and along with cinematographer and frequent collaborator Nestor Almendros, he uses a bright palette to maximum advantage in a story that like its time frame, is bursting in warm, vibrant hues that pretty much parallels the equally lightweight plot. Straying habitually close to the same story that makes up what the "Moral Tales" are about, this one concerns a frisky female, Haydee (Haydee Politoff), who captures the attention and equal repulsion of two other young men: Daniel (Daniel Pommereulle), an artist with a penchant for making art that literally cuts its viewers "who aren't sharp", and Adrien (Patrick Bauchau), a young art dealer who is soon to make a lucrative purchase from an American artist.
Haydee is first seen in a frank, objectified way: walking on the beach of Saint Tropez, alone, as the camera lingers on her face (reminiscent of Charlize Theron), her torso, her legs. It's, in a way, Rohmer's mode of possibly depersonalizing his heroine since she remains a murky character with little definition -- one moment submissive, another moment quite take-charge, but always obscure. It's also a way of introducing her carefree way to the viewer; had she been introduced as a buttoned-down, prim female, it would have been clear her role would be that of a woman of stiff mores. But, as we see throughout the movie, Haydee is living in the middle of the swinging Sixties and she could care less about those things. Nor if her partying disturbs the sleep of Adrien or Daniel.
Their share at the summer house in Saint Tropez is anything but placid. The two men are appalled at her behavior and decide not to have sex with Haydee "for her own good." Adrien even decides to dub her "The Collector" -- a moniker that makes up the title of the movie and points at a spiteful machismo because where men can be womanizers and be called studs, women who take on this attitude are sanctioned. He stays at a distance from Haydee as she becomes involved with Daniel. Their liaison, however, becomes rocky and both soon part ways, leaving Haydee and Adrien with an open door to come one step closer. In a shocking move, Adrien offers her to a prospective client in order to secure a Song vase. Surprisingly, she accepts, not without an incident involving the aforementioned vase, which in turn leads Haydee right into Adrien's arms.
Rohmer's movie is not without its "Rohmerisms" where characters introduce themselves with lengthy discussions as to the nature of life, love, attractions, and repulsions. In fact, every character minus Haydee does so, which makes her the more elusive and difficult to describe. Is she just floating along with what the men think they want? Or is she really clueless, a woman who has a simple view on life and who doesn't find any guilt in her actions? Interestingly enough, her "philosophy" is rather close to that of Adrien's girlfriend (every male character in his "Six Moral Tales" arc has a steady) who sees love as universal, indifferent to beauty or ugliness. That Haydee acts upon Adrien's girlfriend's statement says a lot more about who the girlfriend might be, but sheds an accessible light on Haydee.
And anyways, she comes off better than any of the two men, as do the other females of Rohmer's sextet -- Maud, Laura, or Chloe. (It's also interesting that all of the "other women" are mainly brunette and aggressive or assertive in temper, whereas the "ideal" one is frequently blond or passive in character.) Even when objectified, there is a mysterious likability within her that is missing in his two male leads. Adrien is a little hypocritical of his own observant nature and while he openly derides Haydee he also wants her. Daniel is a dark guy in this story and in all of the "Six Moral Tales" collection, not just because of his pain-inducing art, but a veneer of violence just underneath his arrogant demeanor. Maybe, in this story -- as well as all of his others -- Rohmer seems to be the Ultimate Observer, painting a picture in regards to immature men, their attraction to a worldly female, and their decision to remain in a complacent union with another one that can only be there as a Barbie doll.
11 utilisateurs sur 17 ont trouvé ce commentaire utile :
For me, this is the Rohmer's masterpiece, 22 janvier 2006
Auteur : totius de Italie
It's hard to explain what is the Rohmer's cinema. In his movies you can't find heroes, incredible adventures or great action sequences. Everything happens inside the mind of the characters, and the most important aspect is the psychology of them.
La Collectioneuse is simply the masterpiece of Rohmer.
The plot is very simple: two boys and one girl in their friend's house in St.Tropez. That's all. There are not incredible events that happen, they simply LIVE there. It's an typical situation of Rohmer who likes to study the evolution of love triangles, in different situations. The explanation of the development steps, made by the usual interior voice of the main character (Adrien), it's incredibly accurate and likely. It's fantastic that sometimes Adrien's thoughts look at first to be absurd, but even in this case if we reflect a bit to that we can realize that it's true, that really in similar cases we have non-sense thoughts like those. In this way, Rohmer is unique: the psycho-evolution of the characters is incredibly real. Dialogs, internal and not, are superb and the directing essential.
Rohmer shows us how it's possible to make a masterpiece with a ridiculous budget, and how an intellectual movie can be also enjoyable and not so heavy.
The vote, of course, can't be different by 10 out of 10.
2 utilisateurs sur 2 ont trouvé ce commentaire utile :
Gorgeous film; Best of the first three moral tales, 21 décembre 2008
Auteur : ruthierocks de Virginia
The first feature length moral tale, La Collectionneuse is easily better than its predecessors. Offering a realistic look into the lives of three young people and narrated perfectly by one, La Collectionneuse is a beautiful film. This is Eric Rohmer's first color feature and it is absolutely magnificent to look at. There are several gorgeous beach scenes. The cinematography all around is just glorious. Aside from that, the acting is wonderful. There is so much chemistry between the main characters that it electrifies the film. It also provides a realistic tale of the struggle to keep morality. Translated as "The Collector" in English, La Collectionneuse is an overlooked, underrated film that should be considered a classic.
The story begins with three prologues. The first, Haydee's prologue, simply shows the girl on the beach in a skimpy bikini. The second prologue introduces the viewer to Daniel, a painter, who becomes a key character. Adrien's prologue, the third and last, gives us an introduction to Adrien, who becomes our narrator throughout the rest of the film. These three characters are whom the story revolves around. Sharing a mutual friend, the three of them come to share a villa during their vacation. Adrien, an art dealer who is played by Patrick Bauchau, has made it his goal to do absolutely nothing during his stay. He and Daniel (Daniel Pommereulle) become friends fairly quickly, but both keep their distance from Haydee (Haydee Politoff), the beautiful young girl who beds a different guy every night. Adrien is at first disgusted with her behavior, calling her a "collector" of men, but eventually becomes intrigued by her. As he grows more and more attracted to her, Adrien must decide whether or not to sleep with her and forget his moral integrity or to abstain and do what he knows is right. Through his narration, Adrien debates this and plays mind games with Haydee, although he's not sure if she shares the attraction or if she simply wants to add him to her collection.
This film is simply beautiful. The sexual tension feels very real, which is due to both the performances of the actors and the direction of Eric Rohmer, who is quickly becoming one of my favorite directors. The narration is refreshing, offering a good look into Adrien's mind. La Collectionneuse is very sharp with its dialogue and themes. Like the other Rohmer films I've seen, this one ends very abruptly. It reminds us that we're watching these people's lives for only a short time. The 87 minutes is completely worth it, though. La Collectionneuse is a great film and should be regarded in higher esteem than it seems to be. I can't imagine why this one isn't ranked alongside the greats.
10/10
1 utilisateurs sur 2 ont trouvé ce commentaire utile :
Two Frenchmen and a dimwitted harlot. No, this isn't "Jules & Jim"., 17 octobre 2009
Auteur : fedor8 (fedor8@yahoo.com) de Serbie
*** Ce commentaire peut contenir des spoilers ***
Prologue 1: A flat-chested French actress walks along a beach. She turns around and walks in the other direction. Art.
Prologue 2: Two French pseudo-intellectuals, with mail-order Philosophy degrees, engage in a discussion about a coffee mug with razor-blades glued to it. The deep thinker on the right suggests it means something. The other deep thinker agrees. Nothing gets the blood of two 60s New Wave hobby-thinkers boiling like a cup with razorblades clumsily attached to it. Art.
Two friends, Adrien and Daniel (the cup gluer), are resting on the French Riviera. They have decided not to do anything, be idle for a while. And when two New Wave French cinema deep thinkers are on vacation you just know it won't be long before they do two things: 1) exchange philosophical musings about the world, and 2) share a woman. Which brings us to the to-and-fro beach-walking floozy from Prologue 1, Haydee. She and another man, lover no.23,783, join Daniel and Adrien. The gal and her loveur hurl pebbles at a group of chickens. Adrien is not amused, but his curiosity is tickled. Art.
The narrator initially wants nothing to do with this chicken-hating harlot; he finds her too base even for his amoral, hedonistic ways (he claims to have high morals in the dating arena, but we know better than to believe him). Haydee has the voice of an 11 year-old boy and just as much below the neck: i.e. you can certainly understand why art-loving men fall for her in their thousands. To be fair, she has a very cute face i.e. not at all boyish – which might just explain why she isn't an instant object of desire for Daniel and Adrien.
Nonetheless, our monotone-voiced narrator soon starts to rationalize the growing number of Haydee-induced erections in his pants by deceiving himself that his growing interest in her is because "she isn't empty- headed like the others". Art.
How he reaches the rather suspicious conclusion that her IQ is higher than a chimp's, I do not know. Her sentences rarely contain more than 3 words. But I guess when you do nothing all day but read Rousseau your judgment tends to get a little clouded. French philosophers will do that to you…
Soon we find out what German Romantics do to the floozy. Rather unconvincingly, she holds a book called "Les Romantiques Allemandes", in spite of the fact that even the average episode of "Asterix the Gaul" must be far too demanding for her. That very day, as if wanting to release her from the boredom of having to spend the whole evening pretending to read a philosophy book, Adrien suggests a night out. Soon he makes his moves, but she plays hard to get. She runs away (sobbingly? laughingly? the editor decided not to make her weird grunts comprehensible to the viewer) straight into the hands of Daniel, with whom she had a brief fling a few days earlier. The two embrace passionately – in spite of the fact that Daniel and Haydee were supposed to be not on good terms. Don't ask me what the hell is going on. I'm just the viewer. Needless to say: art.
Next up is a brief scene in which Adrien shows a 10th-century vase to Haydee. He turns it around so the cameraman can capture its other side too (which looks pretty much the same), and then he flips the vase back to its original position. I'm just glad this wasn't a 15-minute scene. Art.
Later, grumpy Daniel (vaguely resembling David Warner), bangs his right foot against the living-room floor, over and over, like a semi-catatonic lunatic. Haydee dares complain about the annoying noise. Daniel reacts to her with a vicious yet pointless diatribe about beauty and ugliness. Being unusually homely himself, I'm a little surprised that he'd even dare touch the subject. He also mentions the Sun briefly, making some New-Waveian analogy not worth repeating here. Summa sumarum: this entire venomous anti-Haydee tirade occurs just because she rightfully complained about his childish behavior. Daniel should be glad that a cutie like Haydee ever even looked at him – let alone actually agreed to bed him.
Breaking the bliss of this slightly idle trio is an art collector, Sam. He sounds like Darth Vader, and throws in a few exciting comments about the much-touted elephant-based ancient vase. Daniel shows up, and true to his fickle 60s New Wave temperament, starts berating Sam for being an art collector. The rant is mercifully short though, and the message is as simple as it is moronic and pointless: "I hate art collectors, so I refuse to kiss your behind." Was Daniel molested as a child by a similar kind of baritone-voiced art collector, or is he merely as dumb as a doorknob?
Later, Sam decides to berate Adrien for his sloth, while the latter defends himself by trying to rationalize his layabout existence as some form of "higher existence": a typical language-rapist, in the best New Wave tradition.
In the end, we find out that these 80 minutes of New Wave French cinema were about Adrien's attempts to start feeling "independent". Hallelujah.
Rohmer once said that he focused on the "cinema of thoughts rather than actions". So why didn't he just publish books then? Cinema happens to be largely a visual medium. Perhaps someone forgot to tell him… But next to Godard he must be a genius.
Still, LC is a watchable flick, some of the dialog being fairly interesting. On the other hand, I'm not one of those Tabula Rasa viewers who are easily impressed by any thought or conversation deeper than a pub discussion about a Premier League draw. It takes more than coffee- table philosophers to get my adrenaline going…
8 utilisateurs sur 26 ont trouvé ce commentaire utile :
Rohmer's dullest conte moral?, 24 octobre 2002
Auteur : taylor9885 (taylor9885@sympatico.ca)
This is such a flimsy story, as slight as Le Genou de Claire but not as well acted. Patrick Bauchau has a splendid profile, Haydee Politoff's mouth is adorable and Daniel Pommereulle knows how to tense his lips for dramatic effect but the story is dead in the water.
A typical Rohmer protagonist is on holiday or somehow separated from his partner, and we are shown how he copes with temptation (Trintignant does so, splendidly, in Ma Nuit chez Maud). Who cares what happens to Bauchau's marriage here, when the actions of the characters are so uninvolving?
3 utilisateurs sur 26 ont trouvé ce commentaire utile :
Bores, 27 mai 2003
Auteur : barberoux de Philadelphia
`La Collectionneuse' was not my favorite of Rohmer's moral tales. I had a problem with the two male leads, not their acting but the characters they portrayed. I thought they were self-indulgent, rather shallow, bores. Haydee was the only one with some life in her. I saw the story as a conflict between Haydee's doing something lifestyle and the inward looking lethargy of the two male leads. God they were bores. This moral tale is hardly worth seeing.
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