Starring: Anne Teyssedre, Florence Darel, Hugues Quester
Director: Eric Rohmer
Producer: Margaret Menegoz
Screenplay: Eric Rohmer
Cinematography: Luc Pages
Music: various composers
Released by Orion Classics
In French with subtitles
A Tale of Springtime is the first installment in French director Eric Rohmer's Tale of Four Seasons series. Produced in 1989, the film didn't receive United States release until 1992. Rohmer's intention with these films is to "focus on attractive, intelligent, self-absorbed if not entirely self-aware young women who present their dilemmas with clarity and elegance and express their feelings in inspired and witty dialogue."
A Tale of Springtime tells of the budding friendship between a young woman and a girl ten years her junior. It has a lot to say about the human condition, and does so through a small group of characters that we grow to know and care about. Occasionally, the film slips off-track with pretentious intellectual spiels on philosophy, but in general A Tale of Springtime progresses like real life, with superb characterization and deft acting as its hallmarks.
The film opens by introducing us to Jeanne (Anne Teyssedre), a thirtyish woman with a penchant for order and a dislike of living alone in an apartment other than her own. Since her boyfriend is away on a trip, she has decided to temporarily move out of his place, but needs a somewhere to go, having her own rooms to a cousin. Fate intervenes in the person of Natasha (Florence Darel), a college student that Jeanne meets at a party. The two take an immediate liking to one another, and Natasha invites Jeanne to spend the night. It doesn't take long for a friendship to spring up, and Natasha begins to weigh the possibility of manipulating a relationship between her father Igor (Hugues Quester) and Jeanne.
A Tale of Springtime is a slice of heaven for anyone who enjoys solid character dramas. Those looking for action, adventure, or plots that move will likely be bored to tears by Rohmer's picture. The storyline is merely a playing field for Jeanne, Natasha, and Florence -- an arena in which Rohmer and his actors can explore the complexities of these individuals' personalities.
Jeanne is a thinker. In her own words, she enjoys "thinking about thought." By profession, she is a high school teacher of philosophy, and clearly understands what she teaches. Natasha, on the other hand, despite getting an "A" in her college philosophy course, is not Jeanne's match when it comes to "deep" discussions. She doesn't enjoy them.
From their first meeting, Igor and Jeanne are attracted to each other, but it is a fragile attraction that neither appears inclined to pursue. Natasha, who would like to see her father with anyone other than his current partner, attempts to force a relationship, but her methods of manipulation (like suddenly rushing out to the store while leaving the two alone) are obvious to both subjects.
Rohmer utilized a uniquely relaxed style of filmmaking in creating A Tale of Springtime. Instead of the quick cuts favored by many modern directors, Rohmer prefers longer shots. Two minutes isn't unusual, and there is one four minute conversation filmed by one camera with no cutaways or close-ups. Given the amount of dialogue necessary for this to work, the actors' command of their lines is impressive.
Then there's the dinner scene, where the portions of food are incidental to the heapings of philosophy. Nevertheless, if you pay less attention to what's being said (it's convoluted enough that multiple viewings may not be enough to unravel it all) than to why it's being said, you'll learn something about each of the characters. The words are ultimately less important than the mannerisms and expressions accompanying them.
Aided by tremendously natural, unaffected performances from his lead actors, Rohmer has molded three real people and created a marvelous one-hundred seven minute film about philosophy and life A Tale of Springtime presents a rare and wonderful opportunity to discover a trio of multidimensional cinematic characters. Once you've been introduced, you won't want to be parted from them, whether or not Springtime ends.
© 1992, 1994 James Berardinelli