Not many movies can draw a parallel between music and love with such delicate refinement as Sautet's Un Coeur en Hiver. The film revolves around an unspoken unrequited love between Stephane (Auteuil), a violin craftsman, and the beautiful Camille (Béart), a violin virtuoso and also his patron's lover. For some reason, either out of loyalty to his friend, fear of commitment or a conviction that he does not deserve anything as perfect, or maybe a mixture of all three, Stephane pulls away. He not only pulls away, he does it with such ruthlessness that comes in complete contradiction with his character. A character that holds a violin as if it were the most fragile item in the world, and yet does not hesitate to shatter a woman's heart by simply saying, "I have decided to seduce you without loving you." But in the end, as he himself realizes, he is only destroying himself. This movie makes me fall in love with French cinema all over again.
75 Reviews
Thoughtful and brilliantly acted
asank11 January 2009
I think it is an engaging and thoughtful movie - the kind that you keep thinking about, long after you have finished watching.
The plot deals with the central character's coldness in relationships with people around him. He is definitely gifted in what he does. He is sincere and hardworking. People around him tend to be friendly and caring. But it seems our guy has some intimacy issues he can't go beyond a certain level.
I am not really sure as to what message did the movie want to convey. It can't just be - if you are cold in nature, you are a loser. I don't think Stéphane was cold by choice he couldn't just change his nature so as to make others happy. I found it odd that a person of such nature would speak with frankness and openness about these issues the way Stéphane tells Camille in the restaurant. His friendship with Hélène also seems unexplained - what was the basis did they expect it to go further?
What struck as peculiar was attention given to details on mundane activities - like the craftsmanship involved in making musical instruments or dealing with the restaurant manager. In some ways, these elements helped in keeping one occupied and expectant of things to come.
Daniel Auteuil's portrayal of Stéphane was very natural. Always immaculately dressed, the way he interacted, sometimes with a smirk on his face - it made you empathize with his character. Also at times you felt like saying - what's wrong with this guy? probably the kind of response director would have wanted to evoke from the audience. Emmanuelle Béart has acted brilliantly and looks amazingly beautiful. André Dussollier also put in a strong performance in his portrayal of Maxime.
Dialogues are thoughtful - but at times their gravity made you feel that these are not the most natural of conversations. Cinematography is splendid with close shots of characters and focus on eye and facial expressions.
The plot deals with the central character's coldness in relationships with people around him. He is definitely gifted in what he does. He is sincere and hardworking. People around him tend to be friendly and caring. But it seems our guy has some intimacy issues he can't go beyond a certain level.
I am not really sure as to what message did the movie want to convey. It can't just be - if you are cold in nature, you are a loser. I don't think Stéphane was cold by choice he couldn't just change his nature so as to make others happy. I found it odd that a person of such nature would speak with frankness and openness about these issues the way Stéphane tells Camille in the restaurant. His friendship with Hélène also seems unexplained - what was the basis did they expect it to go further?
What struck as peculiar was attention given to details on mundane activities - like the craftsmanship involved in making musical instruments or dealing with the restaurant manager. In some ways, these elements helped in keeping one occupied and expectant of things to come.
Daniel Auteuil's portrayal of Stéphane was very natural. Always immaculately dressed, the way he interacted, sometimes with a smirk on his face - it made you empathize with his character. Also at times you felt like saying - what's wrong with this guy? probably the kind of response director would have wanted to evoke from the audience. Emmanuelle Béart has acted brilliantly and looks amazingly beautiful. André Dussollier also put in a strong performance in his portrayal of Maxime.
Dialogues are thoughtful - but at times their gravity made you feel that these are not the most natural of conversations. Cinematography is splendid with close shots of characters and focus on eye and facial expressions.
The Heart has reasons..........
brogmiller20 April 2020
English film critics, especially those at a loss for what else to write, often refer to films such as this as 'very French'. This certainly holds true in so far as French cinema is mainly concerned with character rather than plot.
Claude Sautet was a respected 'script doctor' before his breakthrough film 'Les Choses de ma Vie' which not only put him on the map but made an international star of Michel Piccoli and revitalised the career of Romy Schneider. He went from stength to strength and made his last film 'Nelly and Monsieur Arnaud' in 1995 starring Michel Serrault and Emmanuelle Beart.
'A Heart in Winter' is his penultimate film and is as one would expect from Sautet, a piece both beautifully written and constructed. Sautet has here collaborated on the script with Jacques Fieschi loosely based on the novella 'Princess Mary' by Lermontov. The plot is easily told. Camille, Maxime and Stéphane move within the cloistered world of classical music. Camille is having an affair with Maxime but falls for Stéphane and is devastated by his refusal to respond. Emmanuelle Béart as Camille convinces totally as a professional musician and took violin lessons for a year to prepare for the role. She was of course destined to be underrated as an actress because of her beauty. To describe the Stéphane of Daniel Auteuil as 'enigmatic' would be an understatement. A woman might very well be attracted to elusiveness in a man but there is a limit to her patience. That Auteuil and Bart were romantically involved at the time brings a definite piquancy to the film. As Maxime André Dussollier is splendid and the supporting players uniformly excellent. The cinematography of Yves Angelo is stunning and the use of Ravel's music inspired. Sautet was one of the last true craftsmen of French cinema and if as some say this film is a little cold then it is the coldness of a polished gem.
Claude Sautet was a respected 'script doctor' before his breakthrough film 'Les Choses de ma Vie' which not only put him on the map but made an international star of Michel Piccoli and revitalised the career of Romy Schneider. He went from stength to strength and made his last film 'Nelly and Monsieur Arnaud' in 1995 starring Michel Serrault and Emmanuelle Beart.
'A Heart in Winter' is his penultimate film and is as one would expect from Sautet, a piece both beautifully written and constructed. Sautet has here collaborated on the script with Jacques Fieschi loosely based on the novella 'Princess Mary' by Lermontov. The plot is easily told. Camille, Maxime and Stéphane move within the cloistered world of classical music. Camille is having an affair with Maxime but falls for Stéphane and is devastated by his refusal to respond. Emmanuelle Béart as Camille convinces totally as a professional musician and took violin lessons for a year to prepare for the role. She was of course destined to be underrated as an actress because of her beauty. To describe the Stéphane of Daniel Auteuil as 'enigmatic' would be an understatement. A woman might very well be attracted to elusiveness in a man but there is a limit to her patience. That Auteuil and Bart were romantically involved at the time brings a definite piquancy to the film. As Maxime André Dussollier is splendid and the supporting players uniformly excellent. The cinematography of Yves Angelo is stunning and the use of Ravel's music inspired. Sautet was one of the last true craftsmen of French cinema and if as some say this film is a little cold then it is the coldness of a polished gem.
A very sad film but beautifully realized
howard.schumann2 June 2002
Brother, can you spare a heart?
In Un Coeur en Hiver, the late Claude Sautet looks into the heart of Stephane, a master violin craftsman (Daniel Auteuil), and finds only ice. Stephane is an observer of life, not a participant. The film reveals the consequences of his emotional isolation, of what he has to give up in order to maintain his solitude.
Un Coeur en Hiver is as far from a typical Hollywood romance as Casablanca is from L'Avventura. The film is almost a revisionist portrayal of the usual debonair French romantic lover. While the lovely sonatas and trios of Maurice Ravel form a haunting background, there is a lifeless quality to Stephane and ennui is a palpable presence throughout.
Stephane seems ready to leap into a passionate relationship with a beautiful young violinist, Camille (Emmanuelle Beart) after Maxim, his partner for many years (also in love with Camille), introduces her to Stephane. Stephane, however, is unable to relate to Maxim's friendship or to his growing attraction to Camille and becomes distant and manipulative.
Held back by his reluctance to take risks, his relationship with Camille provides him with the forms of intimacy but without the substance. No pat psychological interpretation is provided but is left to the viewer to interpret. The camera is reserved and intimate. For the most part, emotions are conveyed through glances, expressions, and silences rather than dialogue.
The scene where Camille finally explodes out of frustration over Stephane's emotional distance, however, is powerful, yet is not enough to shake the reluctant lover from his hiding place. At a restaurant, Camille tells Stephanie, "He says he likes music because "music is dreams". "Poor jerk", she blurts out, "You know nothing about dreams". Pointing to his heart, she says, "There is nothing in there, nothing. No imagination, no heart, no balls". Stephane simply sits there with a half grin on his face. I could really feel Camille's frustration in trying to pluck fruit from a barren tree.
Auteuil's outstanding performance makes him a likable figure, a really sweet guy but a very sad one. I felt repeatedly like shaking him from his lethargy and exposing him to joy and the rhythmic beauty of life, perhaps adding a little Mozart to his Ravel.
At the end, however, there is some character development. Stephane finally recognizes that "there is something lifeless inside of me." As his friends depart, he is left sitting alone at a restaurant table, poignantly feeling his loneliness. Perhaps this insight is the beginning of his transformation. A very sad film but beautifully realized.
In Un Coeur en Hiver, the late Claude Sautet looks into the heart of Stephane, a master violin craftsman (Daniel Auteuil), and finds only ice. Stephane is an observer of life, not a participant. The film reveals the consequences of his emotional isolation, of what he has to give up in order to maintain his solitude.
Un Coeur en Hiver is as far from a typical Hollywood romance as Casablanca is from L'Avventura. The film is almost a revisionist portrayal of the usual debonair French romantic lover. While the lovely sonatas and trios of Maurice Ravel form a haunting background, there is a lifeless quality to Stephane and ennui is a palpable presence throughout.
Stephane seems ready to leap into a passionate relationship with a beautiful young violinist, Camille (Emmanuelle Beart) after Maxim, his partner for many years (also in love with Camille), introduces her to Stephane. Stephane, however, is unable to relate to Maxim's friendship or to his growing attraction to Camille and becomes distant and manipulative.
Held back by his reluctance to take risks, his relationship with Camille provides him with the forms of intimacy but without the substance. No pat psychological interpretation is provided but is left to the viewer to interpret. The camera is reserved and intimate. For the most part, emotions are conveyed through glances, expressions, and silences rather than dialogue.
The scene where Camille finally explodes out of frustration over Stephane's emotional distance, however, is powerful, yet is not enough to shake the reluctant lover from his hiding place. At a restaurant, Camille tells Stephanie, "He says he likes music because "music is dreams". "Poor jerk", she blurts out, "You know nothing about dreams". Pointing to his heart, she says, "There is nothing in there, nothing. No imagination, no heart, no balls". Stephane simply sits there with a half grin on his face. I could really feel Camille's frustration in trying to pluck fruit from a barren tree.
Auteuil's outstanding performance makes him a likable figure, a really sweet guy but a very sad one. I felt repeatedly like shaking him from his lethargy and exposing him to joy and the rhythmic beauty of life, perhaps adding a little Mozart to his Ravel.
At the end, however, there is some character development. Stephane finally recognizes that "there is something lifeless inside of me." As his friends depart, he is left sitting alone at a restaurant table, poignantly feeling his loneliness. Perhaps this insight is the beginning of his transformation. A very sad film but beautifully realized.
A great movie! (9/10)
riccardo721 November 2002
If you are after car chasings and unreal fight/action scenes, don't even consider reading further and even less watching this movie.
This movie is about human psychology and love. These characters are tormented by a feeling of inadequacy, by strong unresolved love, and deep affection. It's a modern greek tragedy. It reminds us of the real human nature, unlinear, never simple. Forget the white/black type of hollywood movies. The real world is not like that. We are not just good, we are not just bad, we can be strong and weak at the same time. This movie manages to remind us this in the context of a difficult love story accompanied by one of the most beautiful scores ever.
The whole movie seems to have been written and built around this sad, unusual and beautiful music by Ravel (piano sonata for trio).
If you are an intelligent person you'll love the poetry and soft touch of this movie.
This movie is about human psychology and love. These characters are tormented by a feeling of inadequacy, by strong unresolved love, and deep affection. It's a modern greek tragedy. It reminds us of the real human nature, unlinear, never simple. Forget the white/black type of hollywood movies. The real world is not like that. We are not just good, we are not just bad, we can be strong and weak at the same time. This movie manages to remind us this in the context of a difficult love story accompanied by one of the most beautiful scores ever.
The whole movie seems to have been written and built around this sad, unusual and beautiful music by Ravel (piano sonata for trio).
If you are an intelligent person you'll love the poetry and soft touch of this movie.
Beart's performance is heart-wrenching!
kevhaw6 August 2002
Un Coeur En Hiver is a deeply moving film. Beart's achingly beautiful performance as a violinist who becomes infatuated with an emotionally stunted craftsman, is breathtaking to behold. The craftsman, played by Auteuil, displays an almost unbelievable emptiness of emotion, as he rejects the "unrejectable" Camile(Beart)! The soundtrack of this movie conveys as much emotion as the lead characters do, and is hauntingly beautiful to the ear. This movie is a must for Beart fans! Just seeing those beautiful intense eyes is reason enough to view this film.
Should this film have been called, "Les Coeurs en Hiver"?
bouncingoffwall12 September 2003
Warning: Spoilers
As remote and unfeeling as Stephane was, he seemed to be the only sincere character of the leading threesome. He was who he was and tried to be no one else. That's one good thing I can say about him.
After watching the movie, I was left wondering what Camille's true motives were. What were her feelings? Did she really fall in love with Stephane, or was it his artistry that attracted her? Was it lust, or was her vanity the trigger since he didn't fall at her feet?
What about Maxime? Did he love Camille, or was she simply a trophy to him? Did Camille, in turn, run to him to get away from her current living arrangement? How did he really feel in his situation? I have to question a man's motives when he acts as Maxime did, especially when the woman he supposedly loves is as beautiful as Camille, and seemingly as illusive.
By the end, the three main characters have proved themselves to be quite unappealing, only Brice and the shopkeeper friend of Stephane having provided any real warmth to the story. (Trivia: the actor who plays Brice is Stanilas Carre de Malberg who played Francois Quentin, Julien's brother, in "Au Revoir Les Enfants." Although he plays a small part, it was nice to see him again.)
You might enjoy the movie, especially if you are an art film buff; but cover up, just in case, because winter hits some harder than others, and you could be left with a lot of unanswered questions about the weather.
After watching the movie, I was left wondering what Camille's true motives were. What were her feelings? Did she really fall in love with Stephane, or was it his artistry that attracted her? Was it lust, or was her vanity the trigger since he didn't fall at her feet?
What about Maxime? Did he love Camille, or was she simply a trophy to him? Did Camille, in turn, run to him to get away from her current living arrangement? How did he really feel in his situation? I have to question a man's motives when he acts as Maxime did, especially when the woman he supposedly loves is as beautiful as Camille, and seemingly as illusive.
By the end, the three main characters have proved themselves to be quite unappealing, only Brice and the shopkeeper friend of Stephane having provided any real warmth to the story. (Trivia: the actor who plays Brice is Stanilas Carre de Malberg who played Francois Quentin, Julien's brother, in "Au Revoir Les Enfants." Although he plays a small part, it was nice to see him again.)
You might enjoy the movie, especially if you are an art film buff; but cover up, just in case, because winter hits some harder than others, and you could be left with a lot of unanswered questions about the weather.
My favorite film
naked-city31 October 2005
Warning: Spoilers
This is beyond doubt my favorite film. An odd choice, but it is so. I first saw it here in the USA a couple of years after it was released in France. I had no idea what it was about or what the tone of the film would be. I think I caught it on Bravo when Bravo was good and commercial free. From the start, I was hooked and have not changed my opinion since then even though I have seen the film probably about 12 times. I have seen it with others and I respect their criticisms and dislike of the film, esp of Stephane, but all the same, I still love the film. Not only is it my favorite, it is also the most influential in my life. If I made or wrote films, I would do one like this.
About the film itself, all the performances are wonderful, not only Auteuil and Beart, but also the smaller roles like Bourgine as Helene. The camera is simple, but effective in this context. And the finale is superb, a high moment in cinema history. Stephane trapped behind the painfully clean café window, each passers-by caught in the icy glass, but the camera caught on the resigned stare of Stephane until the picture freezes and fades slowly to black over the score of Ravel. Truly one of the most devastating scenes on film. Above all, glass and windows play a huge role in this film, maybe some sort of statement that Stephane leads a reflected life, sees life only through glass or in reflection, but never seems to be able to touch life itself. And all the glass is extremely clean, reflecting every little detail.
Sautet may not be one of the greatest French film makers, but late in life he produced two remarkable films: this and Nelly et M Arnaud. This one is his masterpiece.
About the film itself, all the performances are wonderful, not only Auteuil and Beart, but also the smaller roles like Bourgine as Helene. The camera is simple, but effective in this context. And the finale is superb, a high moment in cinema history. Stephane trapped behind the painfully clean café window, each passers-by caught in the icy glass, but the camera caught on the resigned stare of Stephane until the picture freezes and fades slowly to black over the score of Ravel. Truly one of the most devastating scenes on film. Above all, glass and windows play a huge role in this film, maybe some sort of statement that Stephane leads a reflected life, sees life only through glass or in reflection, but never seems to be able to touch life itself. And all the glass is extremely clean, reflecting every little detail.
Sautet may not be one of the greatest French film makers, but late in life he produced two remarkable films: this and Nelly et M Arnaud. This one is his masterpiece.
It's not what you see, it's what you don't see.
=G=28 June 2001
"Winter Heart" is a character study which examines what happens when a beautiful violinist falls in love with a violin maker who is devoid of the passion and emotion which is so much a part of French film and life in general. The antithesis of almost everything Hollywood represents as it does not depict the presence of things but the absence of things, "Un Coeur un Hiver" is more interesting than entertaining and will intrigue some and bore the socks off others. A smart film for smart people but placid waters for popcorn flick surfers.
A beautiful violinist obsessed with unrequited love...
Peegee-313 August 2000
This is a haunting film...in its visual beauty, in its performances and certainly in the sensitive direction of Claude Sautet. Auteuil and Beart are perfectly cast. It's a unique theme...in that a beautiful woman obsessed with a man cannot arouse any real passion or interest in him..because as the title implies, his heart is frozen. What I found particularly moving was how both Auteuil's portayal and the script itself made him, for me, a sympathetic figure...I felt I could understand him and feel his inner angst (for whatever psychological reason).
Beart too gave her characterization a depth and a reality that made me not only believe in her plight, but remember when I had some of those same feelings. The violin playing and exquisite music also added a lovely melancholy touch. For me, this was Sautet's masterpiece. Wish he were still with us to give the world more of his talent.
Beart too gave her characterization a depth and a reality that made me not only believe in her plight, but remember when I had some of those same feelings. The violin playing and exquisite music also added a lovely melancholy touch. For me, this was Sautet's masterpiece. Wish he were still with us to give the world more of his talent.
A fine psychological kammerspiel
frankde-jong23 November 2020
Claude Sautet was the master of the small psychological movie. "Un coeur en hiver" is one of his best. Two friends are in the business of reparing violins. One (Stéphane, played by Daniel Auteuil) is the craftsman (introverted), the other (Maxime, played by André Dussollier) is the businessman (extrovert). One day a well known, and very beautiful, concert violinist (Camille played by Emmanuelle Béart) enlists their help. It would be the natural order of things when Stéphane took care of the violin and Maxime handled the relation with the client.
Camille however makes a mess of this "natural order of things", because she is more interested in Stéphane. Sautet shows us in a very clever way the effect that Camille has on the relationship between the two friends.
Camille however makes a mess of this "natural order of things", because she is more interested in Stéphane. Sautet shows us in a very clever way the effect that Camille has on the relationship between the two friends.
a beautiful, beautiful movie without sentimentality, but with great music and wonderful depths of feeling by the actors
ronzoni100113 July 2005
a beautiful, beautiful movie without sentimentality, but with great music and wonderful depths of feeling by the actors. Highly recommended, especially for Auteil, and Beart, who has never looked more stunning. I don't see why I should have to write more than this, since brevity is the soul of wit-as one English wag once said, even though I'm not trying to be witty. However, I'll do what it takes to convince you that you should see this film if you like French film or just film in general. The movie reverses the stereotypical Hollywood gender clichés and, in so doing, invigorates the entire genre of the tragic romance.
This was nominated for best film??
morpoise29 August 1999
I spent a while thinking of what to write about this bizarre movie. I am a fan of both Daniel Auteuil and Emmanuelle Beart (who, I believe, are married in real life), and their performances in this film are strong and are not what disappointed me.
I believe that this film was intended to be a psychological drama about the love between Auteuil's and Beart's characters. However, the problem is that absolutely no progression was made from the beginning of the movie to the end of the movie. We (and they) end up in exactly the same place, leaving the viewer asking in the final scene, "That was it??" The ramifications of their relationship, if you can call it that, do not even compel these characters to make changes in their own lives.
Maybe being an American has made me accustomed to films where there is a happy ending and the romance wins out in the end. But this movie, if a depiction of what happens in real life and not just American films where the guy gets the girl in the end, is deeply disturbing and a sad commentary on the nature of the human condition. These characters really saddened me -- Auteuil's, because he is the one with the cold heart, and Beart because she seems to accept anguish and just go back to what she was doing as though nothing had happened. The viewers are left with many unanswered questions because we are not allowed to get to know the characters well enough to understand why they made some of the choices they did and why they said some of the things that they said.
If you want to be depressed, and watch an hour and a half of anguish, then this is a good choice for you. I gave this movie a 7 because most aspects of the movie (acting, music, etc.) were superb, I guess the ending just was not what I expected.
An interesting note -- I believe that Emmanuelle actually learned to play the violin (and very well, I might add) for this role. Quite impressive!
I believe that this film was intended to be a psychological drama about the love between Auteuil's and Beart's characters. However, the problem is that absolutely no progression was made from the beginning of the movie to the end of the movie. We (and they) end up in exactly the same place, leaving the viewer asking in the final scene, "That was it??" The ramifications of their relationship, if you can call it that, do not even compel these characters to make changes in their own lives.
Maybe being an American has made me accustomed to films where there is a happy ending and the romance wins out in the end. But this movie, if a depiction of what happens in real life and not just American films where the guy gets the girl in the end, is deeply disturbing and a sad commentary on the nature of the human condition. These characters really saddened me -- Auteuil's, because he is the one with the cold heart, and Beart because she seems to accept anguish and just go back to what she was doing as though nothing had happened. The viewers are left with many unanswered questions because we are not allowed to get to know the characters well enough to understand why they made some of the choices they did and why they said some of the things that they said.
If you want to be depressed, and watch an hour and a half of anguish, then this is a good choice for you. I gave this movie a 7 because most aspects of the movie (acting, music, etc.) were superb, I guess the ending just was not what I expected.
An interesting note -- I believe that Emmanuelle actually learned to play the violin (and very well, I might add) for this role. Quite impressive!
Simply Boring, Not Much Else
ccthemovieman-17 July 2006
The only things worth watching and hearing in this French film are Emmanuelle Beart's face and some of Ravel's violin music, respectively.
Otherwise, this is an incredibly boring movie; a very long, drawn out soap opera. It's nothing but people yakking away. The fact national critics rave about this movie is mind-boggling.
The film has little offer, even sleaze, which critics love. For those looking at the cover of the DVD box or VHS tape and thinking this might be some kind of erotic French film, forget it. There is no sex nor certainly anything erotic Unfortunately, this is very little worthy of anyone's attention.
Otherwise, this is an incredibly boring movie; a very long, drawn out soap opera. It's nothing but people yakking away. The fact national critics rave about this movie is mind-boggling.
The film has little offer, even sleaze, which critics love. For those looking at the cover of the DVD box or VHS tape and thinking this might be some kind of erotic French film, forget it. There is no sex nor certainly anything erotic Unfortunately, this is very little worthy of anyone's attention.
Who cares about plot? As beautiful to listen to as to watch.
icon-76 September 1999
A visually-beautiful film. Even if the plot were not good (but it is) it would still be worth seeing for its good-looks.
Beart (Camille) is magnificent! When I first saw the film I thought she was a real violinist, so convincing was her 'playing'. She and Auteuil (Stephane) employ that subtle 'facial' acting, so popular in French cinema. As both their faces are quite lovely, this is a pleasure to watch. Is Beart the most beautiful woman on screen? Probably.
This movie is like a dream sometimes. It gives clues to the riddles of the characters, but does not reveal their essences. Sometimes you have to wonder if the story is really a kind of allegory, with the characters as symbols, their full significance yet to be revealed.
Look out for what appears to be an important scene featuring Stephane's parents, towards the end of the film. It is not obviously enlightening, but it may prove to hold the key to his love-less character. There is a climax to the story, but no real resolution or explanation. Yes, it's the 'Picnic at Hanging Rock' unresolved-ending phenomenon back with a vengeance. And how much more interesting it makes this intriguing story!
Oh - and the music is a substantial part of the film - not just 'background', which is a good thing.
Beart (Camille) is magnificent! When I first saw the film I thought she was a real violinist, so convincing was her 'playing'. She and Auteuil (Stephane) employ that subtle 'facial' acting, so popular in French cinema. As both their faces are quite lovely, this is a pleasure to watch. Is Beart the most beautiful woman on screen? Probably.
This movie is like a dream sometimes. It gives clues to the riddles of the characters, but does not reveal their essences. Sometimes you have to wonder if the story is really a kind of allegory, with the characters as symbols, their full significance yet to be revealed.
Look out for what appears to be an important scene featuring Stephane's parents, towards the end of the film. It is not obviously enlightening, but it may prove to hold the key to his love-less character. There is a climax to the story, but no real resolution or explanation. Yes, it's the 'Picnic at Hanging Rock' unresolved-ending phenomenon back with a vengeance. And how much more interesting it makes this intriguing story!
Oh - and the music is a substantial part of the film - not just 'background', which is a good thing.
you would be surprised ,knowing how a movie could change someone's life.
nazanindayhimi11 July 2006
Warning: Spoilers
I'm not someone who could be easily touched. But this movie was just like a shock to me. The characters, the music and the atmosphere that Sautet has created are beautiful and also fragile-just like in real life. I can't deny that this film showed me a new dimension of my own character-maybe of human character. And about the music ,it awfully fits the movie! Maybe a reason that I'm impressed so much is the music.Ravel is my favorite compositor. But also casting is fabulous.Just like everybody knows even exactly how to breathe. Let me add a sentence from the dialogue which was so impressing for me: There, look at a man touched by grace...
Mr. Sautet I am touched by grace.I Thank you.hoping you hear me from paradise or anywhere else ...
Mr. Sautet I am touched by grace.I Thank you.hoping you hear me from paradise or anywhere else ...
A True Masterpiece
Insp. Clouzot20 April 2003
Marvelous actors. Wonderful music. Subtle dialogues. A true masterpiece with 2 (may be 3 with Andre Dussolier) outstanding performances by Emmanuelle Beart et Daniel Auteuil. Finally a credible analysis of love - meaning not the stupid usual fare from Hollywood - with all its meanders, its non-linearities.
Part of my all times top 10 list.
Note : you need to watch it at least 3 times to grasp all the subtleties, the finesse of the dialogues. Also as so often the case with French movies the ending is open to the viewer's interpretation which makes the movie that more moving and special.
Note 2 : Fans of Hollywood type action movies please abstain.
Part of my all times top 10 list.
Note : you need to watch it at least 3 times to grasp all the subtleties, the finesse of the dialogues. Also as so often the case with French movies the ending is open to the viewer's interpretation which makes the movie that more moving and special.
Note 2 : Fans of Hollywood type action movies please abstain.
It's the Music
gavin69423 May 2016
Beautiful violin virtuoso Camille has two obsessions: the music of Ravel, and a friend of her husband's who crafts violins. But his heart seems to be as cold as her playing is passionate.
The film contains only excerpts of Ravel compositions, but the soundtrack album includes them in their entirety, performed by Jean-Jacques Kantorow (violin), Philippe Muller (cello) and Jacques Rouvier (piano). A fourth Ravel composition not excerpted in the film, "Berceuse sur le nom de Gabriel Faure", is on the soundtrack album. The film helped further popularize especially Ravel's Piano Trio.
Say what you will about this film. Good or bad, it really does a great job presenting the music. Did the actors play the instruments? Probably not. But the use of Ravel is ell executed, and no matter what else, that makes this a good movie.
The film contains only excerpts of Ravel compositions, but the soundtrack album includes them in their entirety, performed by Jean-Jacques Kantorow (violin), Philippe Muller (cello) and Jacques Rouvier (piano). A fourth Ravel composition not excerpted in the film, "Berceuse sur le nom de Gabriel Faure", is on the soundtrack album. The film helped further popularize especially Ravel's Piano Trio.
Say what you will about this film. Good or bad, it really does a great job presenting the music. Did the actors play the instruments? Probably not. But the use of Ravel is ell executed, and no matter what else, that makes this a good movie.
Wow
chrishend6 September 2002
Warning: Spoilers
Claude Sautet is a genius, pure and simple.
This is an incredibly beautiful movie, with sparse, multi-layered dialogue. You would absolutely never find a "love" story quite like this one in the U.S. This was made by a true craftsman.
At times it felt like there were 2 movies going on at once. One that's going along with the dialogue, and another that is pure subtext. Anyone interested in screenwriting should take a look at this thing. Sautet can do with one sentence what it takes others pages to pull off.
*mild spoiler*
The movie also has one of the best endings I've ever seen. There are a few ways to interpret it, and the way you do interpret it has more to do with you as a person than it does about the movie. Very sad, but also hopeful, like some of Woody Allen's endings except put together much more skillfully. If you have it on tape, please rewind and watch the very ending a few times. The dialogue is so subtle and brilliant it'll take a while to get an interpretation. Not one letter is out of place.
This is an incredibly beautiful movie, with sparse, multi-layered dialogue. You would absolutely never find a "love" story quite like this one in the U.S. This was made by a true craftsman.
At times it felt like there were 2 movies going on at once. One that's going along with the dialogue, and another that is pure subtext. Anyone interested in screenwriting should take a look at this thing. Sautet can do with one sentence what it takes others pages to pull off.
*mild spoiler*
The movie also has one of the best endings I've ever seen. There are a few ways to interpret it, and the way you do interpret it has more to do with you as a person than it does about the movie. Very sad, but also hopeful, like some of Woody Allen's endings except put together much more skillfully. If you have it on tape, please rewind and watch the very ending a few times. The dialogue is so subtle and brilliant it'll take a while to get an interpretation. Not one letter is out of place.
A bit too contrived
greekmuse30 December 2011
Warning: Spoilers
A typical French movie about love: slow-paced, elegant, thoughtful. Casting, acting, music--all very good. The problem I had with this film is with the central character Stephane whose reserved and detached nature gets old and annoying after a while. Perhaps I was supposed to feel that his persona is mysterious and that's all there's to it; instead, I got an inkling that his character was just a bit too contrived. And why is he always wearing a suit and tie, even to visit relatives? It seriously made me wonder if he sleeps in a suit and tie pajama.
By the way, the actress Élisabeth Bourgine who plays Stephane's friend is now on the BBC show Death in Paradise. She still looks great.
By the way, the actress Élisabeth Bourgine who plays Stephane's friend is now on the BBC show Death in Paradise. She still looks great.
a must see
cerbu19 April 2005
not too much i can say, either you'll love it or you'll be frustrated.there is no use telling the story.
if you love it you will know why, probably because it strikes a chord in you and you can relate to one of the characters or situations.
if you hate it, well, i can think about worse ways to spend 90 minutes.
I loved it and I watch it over and over.
Auteuil and Beart really shine, and the film is neatly done. You'll be surprised to learn there is more to Ravel than Bolero.
Too bad the DVD is not available in region 1 and the tape is poor quality( btw, the cover is deceiving,definitely commercial, there is no flesh in the movie and there is no need for any).
if you love it you will know why, probably because it strikes a chord in you and you can relate to one of the characters or situations.
if you hate it, well, i can think about worse ways to spend 90 minutes.
I loved it and I watch it over and over.
Auteuil and Beart really shine, and the film is neatly done. You'll be surprised to learn there is more to Ravel than Bolero.
Too bad the DVD is not available in region 1 and the tape is poor quality( btw, the cover is deceiving,definitely commercial, there is no flesh in the movie and there is no need for any).
Exquisite tone poem
gridoon202417 February 2021
This finely tuned drama about a love triangle that never really begins has a slender story, but also well-observed character studies and beautiful performances (including an underrated one by the witty, approachable Elizabeth Bourgine). It's perfection on a minor scale. **1/2 out of 4.
Nearly perfect
bjacob1 December 2006
This is one of the most accomplished movies I ever seen. Brilliant dialogs, wonderful acting, moving music, a perfect mix of sobriety, passion, psychological violence and reserve.
At the heart of the movie, the character of Stephane is an enigma for the other characters and for the viewer. Who is he? What does he wants? Sautet doesn't embrace any psychological analysis for him: he could be neurotic, or a closet narcissist, or a perfect normal person. The director is very subtle in providing the viewer with plenty of little details about him, but refraining from pointing the finger at a single explanation. Still, the character is incredibly life-like and we comes to see him as it was a real person. It is worth noting that, although he wrote completely original stories, Sautet used to use real life, identifiable individuals as models for his characters.
I've seen Un coeur en hiver many times, but still each time I discover something new. Arguably the best Sautet movie and one of the best movies ever.
At the heart of the movie, the character of Stephane is an enigma for the other characters and for the viewer. Who is he? What does he wants? Sautet doesn't embrace any psychological analysis for him: he could be neurotic, or a closet narcissist, or a perfect normal person. The director is very subtle in providing the viewer with plenty of little details about him, but refraining from pointing the finger at a single explanation. Still, the character is incredibly life-like and we comes to see him as it was a real person. It is worth noting that, although he wrote completely original stories, Sautet used to use real life, identifiable individuals as models for his characters.
I've seen Un coeur en hiver many times, but still each time I discover something new. Arguably the best Sautet movie and one of the best movies ever.
Wow, do I feel out of step!
planktonrules8 February 2009
Before I say anything else, I must point out that I love Daniel Auteuil and have seen many of his films. In fact, I look for films with him in it, as I am almost always guaranteed a wonderful film. In this case, he plays against his wife of the time, the radiant Emmanuelle Béart. Now that I have said that, I regret that this is one of the rare cases where I didn't particularly care for the film. Despite there currently being a very glowing review for the film featured on IMDb (giving it, inexplicably, a 10--a score too often overused), I just found the film too slow and uninvolving. Apparently after reviewing more of the comments, people either adored it or disliked it.
Auteuil plays a man who is a genius at fine-tuning and repairing violins. He is so good at what he does that he's sought out by people owning the best instruments in the world. The film begins with his business partner introducing Auteuil to his new mistress, Béart. A bit later in the film, Béart falls madly for Auteuil though the motivation for this is seemingly non-existent. That's because Auteuil is a bit of a schizoid personality and he relates much better to things than people. He is someone who is indifferent to friendships and relationships--a person who is pretty much unable or willing to fall in love. So why would she love him? Now it is possible that his actions are all an act and he really is just afraid of being hurt (psychologically speaking, this would make him an Avoidant personality). However, throughout the film there didn't appear to be much evidence of this but avoidants would also be very, very hard to get to know well. In actuality during the film it appeared he just didn't care that the incredibly sexy Béart adored him. So what you have in the film is a lady who on rare occasions throws herself at a man and the man reacts like he's a block of wood. And, considering that this is all done very, very slowly and deliberately, the film seem way too long and uninvolving. Technically, it was a pretty film (with nice music) but that's about all.
Auteuil plays a man who is a genius at fine-tuning and repairing violins. He is so good at what he does that he's sought out by people owning the best instruments in the world. The film begins with his business partner introducing Auteuil to his new mistress, Béart. A bit later in the film, Béart falls madly for Auteuil though the motivation for this is seemingly non-existent. That's because Auteuil is a bit of a schizoid personality and he relates much better to things than people. He is someone who is indifferent to friendships and relationships--a person who is pretty much unable or willing to fall in love. So why would she love him? Now it is possible that his actions are all an act and he really is just afraid of being hurt (psychologically speaking, this would make him an Avoidant personality). However, throughout the film there didn't appear to be much evidence of this but avoidants would also be very, very hard to get to know well. In actuality during the film it appeared he just didn't care that the incredibly sexy Béart adored him. So what you have in the film is a lady who on rare occasions throws herself at a man and the man reacts like he's a block of wood. And, considering that this is all done very, very slowly and deliberately, the film seem way too long and uninvolving. Technically, it was a pretty film (with nice music) but that's about all.
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