(15) But Kleist is a great writer, and among his greatest works. The scene where the Count looks at the unconscious Marquise is a good demonstration of this difference.Thus the film directly confronts the difference between cinema and literature. In the book, as in the film, the identity of the father of the Marquise’s child is not revealed until towards the end.
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People are called upon to make choices whose consequences they cannot know.
They have to deal not only with their own desires but also those of others. It is mixed with fear—often the fear of making the wrong choice.
The preeminence given to 1963-72) were originally written in novel form, but turned into films because, as the director stated: “I was not satisfied with them because I was unable to write them well enough.”(6) Despite this dissatisfaction, Rohmer continued to write, concentrating on criticism rather than fiction.
He was one of the first contributors to Cahiers de cinéma and went on to be Editor that hugely influential journal from 1956 to 1963.
He sees speech as an integral part of both life and cinema.
In his work the word is not used to impart information, (9) but rather as a revelation of world and character—that is, it is used in exactly the same way as the image is used. Word and image work together to create a third thing, cinema.* * * It is hard to separate the word, spoken and written, from Rohmer’s work.If he is known for one thing, it is the fact that in his films, people talk.In , 1992), tries to choose between two lovers but is unable to free herself of impossible desire for the man who was lost.There is a constant struggle between desire, and both the reality in which each character functions and the philosophical and moral concepts by which they try to live.It is through writing that Rohmer’s films consistently question the nature of the cinematic. His is a cinema where the word is more than a signal post in the plot or a neat catchphrase, but something integrated into the cinematic world.