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A SUMMER'S TALE Send This Review to a Friend
Writer-director Éric Rohmer, who died in 2010, was an icon of French Cinema, and among his works were four under the umbrella title of “Tales of the Four Seasons.” The third in the series, “A Summer’s Tale” (1996), was never released in the United States and that oversight has now been addressed with its first commercial showing here. The film provides a further window on a style at which the director excelled—closing in on individuals in a naturalistic way that, in addition to providing striking visuals, allows them to talk revealingly, thereby giving us insight into their feelings and the problems they struggle to resolve.
In “A Summer’s Tale,” attractively set mainly at the French seaside resort town Dinard in Brittany, we meet Gaspard (Melvil Poupaud), who, not necessarily by choice, is pretty much of a loner, and although studying math, writes songs and really yearns to be a musician. He has arrived at Dinard to meet a young woman on whom he has a crush, but she hasn’t shown up. When she finally does, it is clear that the good-looking Léna, played haughtily by the attractive Aurélia Nolin, is toying with his affections and considers him beneath her, as do her friends.
While awaiting her to arrive, Gaspard becomes acquainted with Margot, a lovely young student in a summer waitress job, who becomes his friend, although we discern that she is really becoming sweet on him. But Margot, endearingly portrayed by Amanda Langlet, has her pride. Gaspard treats her as his friend, as she treats him, but one begins to hope that they can make the relationship more than that, which each might really like.
Yet another young woman enters the picture—Solène, played by Gwenaëlle Simon, Margot’s friend, who is somewhat of a tease, holding out on Gaspard sexually. Thus Gaspard is involved with three women, and a funny situation develops when he promises to go on excursions with each. How will he resolve the bind into which he has gotten himself?
Describing the plot doesn’t begin to provide the flavor of the talk with which Rohmer provides his characters. Their dialogue is both the strength of the film, but also a downside. I found myself eventually bored with their chatter and getting increasingly impatient, as the film never seems to end. Much of what they have to say to one another is surface talk, and perhaps that is the point. But a little of that goes a long way.
Margot is the most interesting character, more so than Gaspard, and one feels for her as a solid person who deserves better than the way she is being taken for granted. Rohmer works it all out in his inimitable style and we come away with this incisive peek at youth, all made visually attractive given the French seaside setting. A Big World Pictures release. Reviewed June 20, 2014.
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