A Heart in Winter

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source: A Heart in Winter

Claude Sautet is a genius, pure and simple. This is an incredibly beautiful movie, with sparse, multi-layered dialogue. You would absolutely never find a "love" story quite like this one in the U.S. This was made by a true craftsman. At times it felt like there were 2 movies going on at once. One that's going along with the dialogue, and another that is pure subtext. Anyone interested in screenwriting should take a look at this thing. Sautet can do with one sentence what it takes others pages to pull off. *mild spoiler* The movie also has one of the best endings I've ever seen. There are a few ways to interpret it, and the way you do interpret it has more to do with you as a person than it does about the movie. Very sad, but also hopeful, like some of Woody Allen's endings except put together much more skillfully. If you have it on tape, please rewind and watch the very ending a few times. The dialogue is so subtle and brilliant it'll take a while to get an interpretation. Not one letter is out of place.

I'm French-American and have paid my dues growing up with my mother feeding me French cinema. As it stands, though I am a bit delighted to see many people (esp. Americans) enjoy this film, I am *totally* confused by it! This movie has got to be one of the most BORING movies I've ever seen! Period. What's worse, I couldn't remember the last time a movie's whole equaled less than the sum of its parts. There was Emanualle Beart, who(and I know I'm not alone when I say this) may be the most beautiful actress on Earth. Not to mention she fits the part of a violinist well. There's her agent, that older lady, who's amiable. Maxim was kinda' boring, but seemed like a cool guy. Even that big, short lady with that alcoholic husband were good to watch. The problem is that...well, I should say *problems*, 'cause I had two beefs wthis flick......... One is that Daniel Auteuil...I'm sorry....."Stephane"...was so unbearable to watch. At least for me. I know that he was in reality still married to Beart during this time, and usually that works for couples as far as on-screen chemistry. But here it almost seemed to work against them. In all the hoopla and drama about how he repaired her violin and she saw a certain emptiness in his eyes blah, blah, blah, I still could not see what a *gifted*, young, beautiful, intelligent musician would see in such a loser. He said he had tried to seduce her, he "GUESSES" to "get back at Maxim". For doing WHAT exactly, to him? Why was everything intentionally obscure? Which brings me to my second problem with this disaster... Why does every sentence of dialogue have to do with what someone *thinks* they should feel about something? Orwith someone answering their own question (literally) while talking to someone else? The dialogue was just so annoying, because it felt so unsubstantiated. The only thing(and I mean ONLY) that kept me awake while watching this was the hope that there would be sparks when the two would start kissing, or more, or...at least SOME kind of romantic emotion. The only dialogue I actually liked was the one between Camille and her agent. Their relationship is an interesting one and could have gained more screen-time, in my opinion. Instead of this dull, lifeless so-called infatuation with this stupid guy who acts like he's above everyone else as his eyes gaze cluelessly off into space. Yeah, he's deep. POSSIBLE SPOILER - I said that the only thing that kept me awake watching it the 1st time was a possible love scene. Now, since I know there *are* none, I can definitely use this film instead of having to take sleeping pills so I don't have to be groggy in the morning. Even if I can't sleep bc I'm hyper, this film will never fail to induce sleeping. END SPOILER *************** Hey, I'm NO violinist; but I see that other musicians commented on the credibility of the terms and playing of violins used. I'ts actually refreshing that for once there is a movie that is at least more musically accurate than it is entertaining. I HAVE, however, seen many,many,many, MANY French films and now realize that even the worst films I was spoonfed as a child were award-winners compared to this one, entertainment-wise. If you want to see a sad, unresolved movie, go watch <Ponette>. Or if you want to see an AWESOME movie with both Daniel Auteuil and Emanuelle Beart, rent <Manon des Sources>. But I'm sure most people have ALREADY seen the latter. =) -Sep

As remote and unfeeling as Stephane was, he seemed to be the only sincere character of the leading threesome. He was who he was and tried to be no one else. That's one good thing I can say about him. After watching the movie, I was left wondering what Camille's true motives were. What were her feelings? Did she really fall in love with Stephane, or was it his artistry that attracted her? Was it lust, or was her vanity the trigger since he didn't fall at her feet? What about Maxime? Did he love Camille, or was she simply a trophy to him? Did Camille, in turn, run to him to get away from her current living arrangement? How did he really feel in his situation? I have to question a man's motives when he acts as Maxime did, especially when the woman he supposedly loves is as beautiful as Camille, and seemingly as illusive. By the end, the three main characters have proved themselves to be quite unappealing, only Brice and the shopkeeper friend of Stephane having provided any real warmth to the story. (Trivia: the actor who plays Brice is Stanilas Carre de Malberg who played Francois Quentin, Julien's brother, in "Au Revoir Les Enfants." Although he plays a small part, it was nice to see him again.) You might enjoy the movie, especially if you are an art film buff; but cover up, just in case, because winter hits some harder than others, and you could be left with a lot of unanswered questions about the weather.

This film has had a large impact on me when I first saw it. This is a profound film. Not necessarily in its dialog or even in its plot, but for the depth of the artistic sensibility it displays. An art film in the best sense of the word. What most influenced me was Auteuil's character. As strange as it may sound to some people, I aspire(d) to achieve his level of honesty and levelheadedness. While some viewers probably thought most actors in this movie to be "cold," their coolness plays on an impressive array of nuances. All of this could be analysed, of course, but it might be best to let the film impregnate us. This film may easily please those who are nostalgic of the Paris life it represents. Similarly, the film shows impressive sensibility to classical music and to the life of classical musicians. It also plays on beauty on several levels and, certainly, Emmanuelle Béart is at her best. But, as I'd say, one of the saddest things in life must be how beautiful women can be when they cry.

* Spoiler* I must comment on the conclusion one viewer drew that Maxim and Camille lived happily after. Just one look at Beart's exquisite face at the end tells you that happy is one thing she isn't. And Maxim says that Camille 'comes and goes...', seemingly resigned but certainly not happy himself. There are so many ways to interpret the ending, again demonstrating Sautet's brilliant directing and the nuances in Beart's and Auteuil's performances. Is she moving on with her life, leaving him behind? Are they both imprisoned within different walls of glass, unable to reach each other? Poignant, multi-layered, French film at its best!

Before I say anything else, I must point out that I love Daniel Auteuil and have seen many of his films. In fact, I look for films with him in it, as I am almost always guaranteed a wonderful film. In this case, he plays against his wife of the time, the radiant Emmanuelle Béart. Now that I have said that, I regret that this is one of the rare cases where I didn't particularly care for the film. Despite there currently being a very glowing review for the film featured on IMDb (giving it, inexplicably, a 10--a score too often overused), I just found the film too slow and uninvolving. Apparently after reviewing more of the comments, people either adored it or disliked it. Auteuil plays a man who is a genius at fine-tuning and repairing violins. He is so good at what he does that he's sought out by people owning the best instruments in the world. The film begins with his business partner introducing Auteuil to his new mistress, Béart. A bit later in the film, Béart falls madly for Auteuil though the motivation for this is seemingly non-existent. That's because Auteuil is a bit of a schizoid personality and he relates much better to things than people. He is someone who is indifferent to friendships and relationships--a person who is pretty much unable or willing to fall in love. So why would she love him? Now it is possible that his actions are all an act and he really is just afraid of being hurt (psychologically speaking, this would make him an Avoidant personality). However, throughout the film there didn't appear to be much evidence of this but avoidants would also be very, very hard to get to know well. In actuality during the film it appeared he just didn't care that the incredibly sexy Béart adored him. So what you have in the film is a lady who on rare occasions throws herself at a man and the man reacts like he's a block of wood. And, considering that this is all done very, very slowly and deliberately, the film seem way too long and uninvolving. Technically, it was a pretty film (with nice music) but that's about all.

This is beyond doubt my favorite film. An odd choice, but it is so. I first saw it here in the USA a couple of years after it was released in France. I had no idea what it was about or what the tone of the film would be. I think I caught it on Bravo when Bravo was good and commercial free. From the start, I was hooked and have not changed my opinion since then even though I have seen the film probably about 12 times. I have seen it with others and I respect their criticisms and dislike of the film, esp of Stephane, but all the same, I still love the film. Not only is it my favorite, it is also the most influential in my life. If I made or wrote films, I would do one like this. About the film itself, all the performances are wonderful, not only Auteuil and Beart, but also the smaller roles like Bourgine as Helene. The camera is simple, but effective in this context. And the finale is superb, a high moment in cinema history. Stephane trapped behind the painfully clean café window, each passers-by caught in the icy glass, but the camera caught on the resigned stare of Stephane until the picture freezes and fades slowly to black over the score of Ravel. Truly one of the most devastating scenes on film. Above all, glass and windows play a huge role in this film, maybe some sort of statement that Stephane leads a reflected life, sees life only through glass or in reflection, but never seems to be able to touch life itself. And all the glass is extremely clean, reflecting every little detail. Sautet may not be one of the greatest French film makers, but late in life he produced two remarkable films: this and Nelly et M Arnaud. This one is his masterpiece.