Delphine is a deeply relatable character, even with her more irritating flaws. I know all too well that conflict between the desire for companionship and the temperament for solitude. The locations are gorgeous, and Rohmer's dialogue, as usual, is absolutely spot-on. Few people can write dialogue that sounds as natural and effortless as he does. Not too sure what to make of the allusions to fate and superstition, but it added an unusual bit of spice.

Taking one of the most intriguing of characters who is both deeply sympathetic yet rather frustrating, presenting her personality via some of the most beautiful dialogue I've ever heard in great and memorable scene after great and memorable scene, with a wonderfully gentle directorial touch from Rohmer and drawing on chance and mysticism to add a certain something more - surely one of the most tender, exquisite and delightful films I have ever seen. Quite simply I adore everything about it.

The character at the center of Rohmer's Le Rayon vert is a living, breathing human being. It takes films like this to remind us how rarely filmmakers actually achieve such a simple goal. But Rohmer achieves it beautifully, letting us into the life of a woman who both frustrates and inspires empathy. Rohmer strings this out as far as he can, before finally offering some measure of relief in the final ten minutes. And that final image of transcendent beauty . . . wow.

I kept thinking to myself, "Why don't I want to punch this annoying, self-pitying woman in the face?" It is to Rohmer's and Riviere's credit that Delphine is so relatable and true to life that all the incredible frustrations that should be attached to her incredibly frustrating character wash away completely. It's not perfect, but it's close.

After the erratic viewing experience of the last few Rohmer films, this is undoubtedly a great film, an immensely deep character study which is pitch perfect. Its also a great film visually; I criticised the last Rohmer film I saw for flat cinematography but this shows that, when he lets the dialogue take a step back for the settings and moments of silent contemplation, he is as good a visual director as well as with dialogue.

"Eric Rohmer's comedy, one of his best, follows a lonely Parisian secretary as her quest for a transcendent July vacation becomes stalled in misadventure and self-doubt." - Bill Weber

#670

A lot of this movie is unraveled in its sappy finale, but some individual scenes shine.

Rohmer's magnum opus. Loneliness here is as palpable as in Taxi Driver, and it manages to be intelligent without being overtly intellectual like My Night at Maud's.

Marie Riviere's Delphine is an exasperating bundle of awkward lonely nerves and totally makes the film. Her character can get a little annoying but the performance is so perfect that the realism of her character shines through and hits you like a ton of bricks. Rohmer's trademark dialogue is wonderful throughout and the way he captures the intricacies of human interaction is as amazing as ever. I do wish he'd drop the astrology crap, though.

842

Of all the great Rohmer films, this one is my favourite.

# 803

679

The film uses contemporary mysticism and literary interpretation to define a period of one individual's life. It's about the process of searching for one's sense of belonging and a meaningful relationship. Delphine is both afraid of intimacy and also unable to connect due to her insecurities and quirks. She rationalizes loneliness as keeping a dream of being able to connect. The only flaw is the end which feels a bit contrived and plays to the audience but overall a good film with great setting

Great Movie