La rodilla de Claire

one of the most beautiful movie by Rohmer. when I saw this film for the first time i was in Brasil (Saao Paulo) and the movie was whistled at the end of the performance by the assistance. In fact, I found the movie a little bit ridiculous and native. i reviewed this movie on TV, a few years later, in France, and was then enthusiastic. I've since become a fan of Rohmer and I've seen nearly all of his films.

Like most of Eric Rohmer's work, you will either enjoy the laid-back atmosphere and chatty characters in Claire's Knee, or find it all incredibly boring. I happen to love them. It's rare to find movies that don't want to be sensationalistic and violent, but would rather present universal questions and then investigate them throughout the course of the movie.

I would recommend Love in the Afternoon as an entry into Rohmer however, as it is a little more pacey for those unfamiliar with his style. And my personal favourite is "The Green Ray"... but don't start there as the subject of the film is about boredom!

'Claire's Knee' is arguably the most well-known of Rohmer's films, mainly for the attraction of the young girls in it. The title is a come-on and the heterosexual sheep of the sensation seekers follow. It is a clever ploy, but it is not only the girls that the camera lingers over. What of the young men, equally in a state of almost permanent tight swimsuits? When we first see a hand placed on Claire's knee, it is so filmed that we see a double-eroticism: the crotch of the beautiful Gerard Falconetti, as well as Claire. There is a bisexuality of image. And despite famous critics always talking of the girls and women in Rohmer's films, what of the young men in such films as 'Pauline at the Beach', 'The Aviator's wife' , 'My Girlfriend's Boyfriend', 'A Summer's Tale' and 'Full Moon in Paris' where one of his sexiest youths is pivotal to the ending of the film?

All are beautiful young men, and visual proof alone shows that Rohmer chose them as equally for their beauty as the women. As for showing more mature men as sexually attractive beings, they can be seen in many other of his films. I have said recently that Rohmer is my favourite director, and he rarely disappoints. But to return to 'Claire's Knee'. I read the film as a fiction within a fiction. A female author (excellent Aurora Cornu) uses in her way the ambiguous guest played well by Jean Claude-Brialy to find her a story. And once the story of various flirtations and semi-seductions is achieved the film draws to a close. She has her scenario, but Brialy in a scene near the end with a mountain storm breaking, attempts to destroy Claire's love for the young man played by Gerard Falconetti. This is the strongest scene for me in its Laclos-like 'perversity' in reducing her to tears so as to achieve his erotic goal. It is here that we wonder if the whole scenario has been built on questionable truths, and that what people say is certainly not what they are thinking. How much do we create fictions for others? Rohmer, with a light touch and with images bathed in natural beauty (this time by Lake Annecy) seduces us into questioning how much we are self-created fictions. A great film to be watched countless times.

The title of this charming film by Eric Rohmer is perhaps too provocative. It really gives the wrong impression, yet Claire's knee is exactly the central point of the film, although in a way that will surprise you. This is the story about a thirty-something year old diplomat, Jerome Montcharvin, who encounters two pretty girls, sixteen and eighteen years old, while on vacation at Lake Annecy in France (near Lake Geneva, Switzerland) a month before his wedding and finds that they affect him more strongly than he might have expected. It is especially Claire who brings out a side of his personality that is seldom exposed, much to the merry interest of his friend, Aurora, a writer, who has guided his interest in the girls, ostensibly as material for a story she is writing. Claire's Knee, it need be said immediately has not so much to do with the pretty girl's knee as it has to do with the protagonist's self-perception. Jean-Claude Brialy, who plays Jerome Montcharvin, brings a veracious mix of smug confidence and little guy vulnerability to the part spiked with a clear case of self-delusion that illuminates his character very well. And the girls are indeed very pretty, with Laura, played with coquettish innocence by Béatrice Romand, also being clever and slyly sophisticated, vulnerable and honest. In contrast Claire, played by Laurence de Monaghan, whose fawn-like beauty is perfect for the part, seems superficial and ordinary and a bit distant. I found myself more attracted to Aurora, played with a gentle and understated irony by Aurora Cornu. She provides the objectifying point of view for us to realize that while Jerome imagines he is a man in touch with his feelings and has an objective understanding of himself, he is really a man who fools himself about his motivation, a man who can be ugly when frustrated, as he is by Claire's lack of interest in him. The dialogue, written by director Eric Rohmer, which some have found excessive is anything but. It is instead clever and witty and at times profound as Rohmer relentlessly explores the nature of love, sex, sensuality and self-delusion. The cinematography of the lake and the French alps in the summer time is luscious, and the privileged, softly indulgent life style of the characters living around the lake provoked a twinge of jealousy in my soul. This is a beautiful film, worldly wise, warm, sensual and subtle as a dinner by candlelight.

I think the moral point of "Claire's Knee" (probably not Rohmer's) is that Jerome's conversion from womanizer to a serious and challenging relationship with Lucinde, is flawed. And that the flaw is his invoking the escape hatch of an "open marriage." He (or his new persona) half believes that he will not use it, but the accidental presence of two enticing teenagers at his Lake Annecy vacation sets the stage for his self-delusion, his devaluation of intimacy, and for the resurfacing of his sensuous ways.

For "open marriage" as a cover for "adult," is really another form of ambivalence and duplicity. What it means to Jerome is that the door of puerile fantasy is at his fingertips. Thus in the rarified air of Annecy, in the flow of summer, thin, mod teenagers Laura and Claire become not only sex objects to Jerome, but potential love partners--one at 16, assessed as adult enough, and the other 18, assessed as legal. We see them together, he invariably clothed for late autumn weather, they for mid-summer. In the emotional cat and mouse games that ensue, Laura and Claire are, to him, mere temptresses, and perhaps part of a self-test, and not, in any sense, young women with lives of their own & chosen boy friends. Instead, their boundaries begin to blur under his voyeurism, his not so subtle acts of aggression, his familiar touching, fondling, pointed remarks, and prescriptive suggestions. He offers them no affection, no friendship, and no communication.

How could it be otherwise given their demure youth, beauty and his permissive "open marriage," and when possessing them is his goal--pederasty and fetishism his means. But his fling with inspiring youth having fulfilled his KNEEDS, he can now discard Laura and Claire without in any way having deviated from his new mature male role-- as willfully possessive as he's been. Whether Lucinde has actually signed off on the "open" deal or not, she, despite her maturity, worldly success, and her sculptured character, must be no more than a symbol to Jerome, extracted for his KNEEDS, which must come first before commitment and support.