A Summer’s Tale (Rohmer, France, 1996) – Theatrical Viewing / Rating: 7.9
In much the same way that the Humphrey Bogart-vehicle Dead Reckoning can be seen as the quintessential film noir — by being a virtual checklist of all of the genre’s conventions — in spite of the fact that it’s not very good, so too can A Summer’s Tale be deemed the “ultimate Eric Rohmer movie” in spite of falling far short of the master’s best work. All of the key Rohmer ingredients are here (which might be part of the problem): familiar from La Collectionneuse, Pauline at the Beach and The Green Ray is the beach locale during summertime; from all six of the Moral Tales is the dilemma of a young man (Melvil Poupaud) torn between multiple — and vastly different — women; and from countless other Rohmer films is an academic protagonist (this time a mathematician and musician studying “sea shanties”) sidetracked by l’amour fou. Poupaud, half-way between being the child actor discovered by Raul Ruiz and the mature adult performer in movies by Arnaud Desplechin, Xavier Dolan and others, is appealing, but Amanda Langlet steals the show as his ambiguous love interest/friend Margot. The theme of thwarted desire is as keen and amusing as ever but those familiar with Rohmer’s oeuvre will know that he’s done this kind of thing much better elsewhere. Even within the “Tales of the Four Seasons,” the late film cycle to which it belongs, this isn’t within hailing distance of such masterworks as A Tale of Winter or An Autumn Tale (though it’s infinitely preferable to the dull A Tale of Springtime). Still, diehard Rohmer fans will want to seek out A Summer’s Tale: it never got a proper theatrical release in the U.S. until now and this new HD restoration renders Rohmer’s photography of the sunny Dinard locations as appealing as one could hope for.
Life Itself (Steve James, USA, 2014) – On Demand / Rating: 6.9
I recently and belatedly caught up, via video on demand, to Life Itself, Steve James’s much-lauded bio-doc/adaptation of Roger Ebert’s much-lauded memoir of the same title. While I found much to admire within it (I have too much respect for both Ebert and James not to), I also was not as impressed as I hoped I would be. Life Itself feels almost like two separate documentaries (one about Ebert’s life, the other about his death) that have been mashed together but that never quite cohere into a completely satisfying whole. The film about Ebert’s death is the better of the two: scenes of his final months, with his loving wife Chaz beside him in the hospital, in rehab and at home, while occasionally painful to watch, are the heart of the movie and really reveal director James’s humane and guiding hand. The poignancy of these scenes, which underscore the theme of “dying with dignity,” are where one feels the deepest connection between filmmaker and subject. The rest of Life Itself — consisting of talking-head interviews, archival clips from old episodes of Siskel and Ebert, an Ebert sound-alike narrating from the great critic’s memoir, etc. — is more anonymous and feels like standard made-for-PBS fodder; as enjoyable as much of that stuff is, it never feels like more than an unnecessary reduction of an already fine book. Life Itself begins with Ebert’s now-famous quote about cinema being an empathy-generating machine. While the two hours that follow generate more than their fair share of empathy, and are therefore well worth seeing, prospective viewers also shouldn’t be expecting another Hoop Dreams.