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The Marquise of O (1974) / Welsh Perceval (1976) Philippe

representation of a text.

Evocation

Fussili box in the Marquise of O.

The Marquise of O and Perceval Welsh are, despite their formal and thematic differences, two excellent works which pursue a similar purpose, to stage the text from which they came. "I would like in this work on a classic, having managed to paint the world from another era with the same sort of detail to paint the world today in moral tales." For a long time these two works appeared in a strange way in his films, a director who always Archaeology was dedicated to the loving relationships and behaviors, then, is in "moral tales" in his "Comedies and Proverbs" or "Tales of the 4 seasons "is concerned to bring to screen two works based on classical texts without any intention to update, because Rohmer rejuvenate a work means you do not modernize it, but return in time. And I say it appeared as two unusual works and do not appear, because if we do a review quick of his later works, we see that Rohmer, after terminate their study on the influence of weather on human behavior has made works that are similar to patterns The Marquise of O and Perceval, The Lady and the Duke (2001) and The Romance of Astrea and Celadon (2007) . A study of the past emphasized in its final stage might come caused by a sense of incomprehension and rejection to the present, the past is a conviertie to Rohmer isolated from a haven for contemporary era which was not very comfortable.

The Marquise of O is based on a short story by German author Heinrich von Kleist belonging to the movement of German Romanticism. Rohmer does not try to adapt the work of Kleist, but what it does is a marked fidelity to the author's text, which Rohmer films as he says "there is a mise en images, but the concrete representation of per server vidos character left to the reader's imagination. Fimo stories but not to people who tell stories and in The Marquise of O ... what I shoot is a story narrated by Kleist [1]. Film
All Eric Rhome boasts a strong tendency toward objectivity and invisibility of forms, a constant search to try to raise from the invisible visible, a scrupulous respect for the characters that populate his "documentary fiction." What is it that attracts you the text of Kleist Rohmer?. "The narrator prohibits any mention of the inner thoughts of the heroes. Everything is described from the outside, just as calmly contemplated that the objectives of a camera [1]. Is distancing Rohmer's work displayed in Klieist, is the same as the big momo has searched in all his films.

The staging that Rohmer made in the film is a thorough representation of nineteenth-century staging. Rohmer and Nestor Almendros, searched for their references in the paintings of the eighteenth and early nineteenth centuries in order to provide greater authenticity and similarity to the film with the original test. The framing, colors, lighting and exaggerated gestures of the characters are clearly paintings influenced by Jacques Louis David, The Oath of the Horatii (1784) or Jean Baptiste Grueze, punished Son (1778)

is

search pictorial referents to give the film more faithful to history, had also made some years earlier by Stanley Kubrick in Barry Lyndon (1973) with eighteenth-century English painting, Reynolds, Gainsborough, constantly ... Though really just doing what Kubrick is a representation of the representation that the pictures were of English society in the eighteenth century.

However there is a box Nightmare JH Füssl i, which is reproduced in a fairly faithful to the film, and also functions as said Pascal Bonitzer as a visual metaphor a narrative ellipsis. A very smart to use a particular pictorial reference to suggest a veiled way, an act that falls outside of the film, to be the cause of the conflict that will to face the Marquise, her pregnancy. How can this be possible, but am a virgin? She asked stunned the Virgin Mary, the angel Gabriel. Like the Marquise will ask for much of the film.

Welsh Perceval is a work, strange, purely experimental, and extravagant but at the same time unique, interesting and bold, where Eric Rohmer is facing the same problem that The Marquise of O , the representation of a literary text on the screen. But if in the previous work, the difficulty was how to accommodate the romantic nineteenth century representation, in which like it or not one is more familiar in the Welsh Perceval , complexity is accentuated, because the text of Crethien de Troyes, Li Contes del Graça l, dates from 1190.

Perceval, the Welsh. Lack of depth of field and gestures
unrealistic scenarios forced.

Nestor Almendros and Eric Rohmer, in a similar operation to that made in The Marquise of O, decided to get a visual representation as reliable and objective Crethien text, based on the artistic production of the time. How to represent cinematically visual system so distant from our current percepeción images?. Nestor Almendros described some of the work of reproducing medieval pictorial representation "as in the miniatures of the Middle Ages things were not normal scale. The sky was blue with clouds painted on a giant cyclorama, stylized trees were plastic castles made of balsa or cardboard miniatures in gold, the grass was painted green ground. The colors of clothing appear very lively, sometimes aggressive, as we issued the thumbnails inspirábamos us [2]

And the fact that the visual system of the Middle Ages is so alien to us is what causes a feeling of discomfort, amazement and a certain anachronism, because although Rohmer's effort is valiant and worthy of admiration, contemplation of a work is always contemporary art. As spectators we can not see Velazquez Las Meninas ;, for example, as seen in 1656. All viewing is present, and film as Serge Daney said this is an art. This does not mean that the work of Rohmer and Almendros is performed correctly and inspires fundamental questions about the representation and adaptation of a classic text to film.

The formal experiment performed Rohmer in Perceval, confronting the viewer with a representational system as far away as the Middle Ages, has similarities with the work of Federico Fellini's Satyricon The (1969) in which the ; Italian director created compositions that were influenced by Roman frescoes and Byzantine mosaics.
may seem at first glance that these two works because it is more stylized and artificial are far from the austere and objectivist conception which has shown the cinema of big momo . But while the formal elements are more evident in these two works and stay away from the naturalistic aspect shows in his extraordinarily rich "moral tales" Rohmer's attitude to perform the two adaptations is the look of documentarian and ethnographer who appears in the rest of his work. Thematically The Marquise of O is an exploration of the subjective morality and social morality and the Welsh Perceval , developed through Arthurian myth, issues of loss and search for faith, both problems usually played by Rohmer in work.
The two works have become a point of right priority for all the debate that revolves around the Film and Literature and Cinema and Painting.

[1] cited in Crown Carlos. F / Satamarina. A, Eric Rohmer, pp 176, 177. Ed: Catedra
[2] Almendros, Nestor, Days of a camera, 247 pp Six Barral Ed