Every time the film has portrayed ado the earthly existence of a composer or performer, fictional or real, it has penetrated into the inner world the protagonist, usually crooked and dark. Thus, the combination of talent and tenacity is often laced with anger attacks, panic, pure and simple madness or folly. Many times, therefore, the music was merely a counterpoint to the chaos of life. And often grates on the screen too much ups and downs of living score. In any case, once at least, the world of letters, essays genius and found the right speed, the tempo required. It was thanks to the good smell of Claude Sautet reader and a couple of players who matched the third time on the screen and enjoying a satisfying marriage sentimental in real life: the beauty of body and soul Emmanuelle Béart and very reliable, and envied, Daniel Auteuil. And while the film in question, Un coeur en hiver (A Heart in Winter, 1992), was not far from a biopic to use, but a violin passage with background, the rest of the plot, social conventions and euthanasia included, was relegated to the background, before the power of suggestion and seduction of the music that the actress was born in Saint-Tropez. Un coeur en hiver is an endeavor of passion and frustration that both can be a parent with the romanticism of Lermontov, from which comes the main actor of the plot, as with the dangerous letters of wax or the brief marriage Countess of Torlato-Favrini, the hapless dancer who remained carved in marble, barefoot and with the body of Ava Gardner. Is the risk of distraction in which Stéphane (D. Auteuil) is presented as a luthier specializes in violins who works and sleeps in the studio of his friend, and almost partner, Maxime (André Dussollier), womanizer that in the young Camille Kessler (E. Béart), a musician with a promising future, the ultimate lover. Stéphane, who leads a routine life, rather quiet and comfortable, which makes their relationship with the bookstore Hélène (Élizabeth Bourgine) does not get worse, suddenly gets involved without being aware of and all the consequences in a game of seduction with fragile Camille and object of desire. The lack of feelings of vulnerability or of great harm suffered in childhood led him to not take the step to cross the bridge of sexual love, but not prevent it from crossing the brotherly love, which takes you to the old professor ( Jean-Claude Bouillaud), his mentor, perhaps the only one who truly understands him, and who will help meet a heavy desire.
split personality, or ancillary characters, the margin-Maxime and Stephane, angels of the same God who comforts and takes life by the men's side, the Camille candid with the woman who cares for her career, Regine (Brigitte Catillon) her friend ... "frustrated, jealous? On the professional side, in the sentimental?, By the female- Un coeur en hiver is a charming story of affinities and Claude Sautet impossibilities could shoot through the serenity and clarity that give the years. Looking scenes profile test or recording in the studio, where you can admire the learning task for more than half a year occupied Emmanuelle Béart in order to simulate their expertise to the interpretation of Ravel, away from the action the guest who comes at night and discover the discomfort of surprise, Sautet, never ends up showing if Stéphane is a dreamer, a platonic love, a coward who does not allow a victory off the paddle, an alexithymic or incompetent. Ambiguity or perhaps they did not know the director, or the craftsman who persevered in the work, the perfect disguise loneliness.
Being told from the point of view of Stéphane, indication is made at the beginning of the film but that fades as the story progresses, it is difficult to imagine the effort it would cost to assemble each of the episodes of history , a much more than adjust the eighty pieces of wood of the instrument he loved tension. On the whole chapter of alienated passionate outburst Camille gets the urge, humiliating and public, to weigh the attributes of a man who never will be for her physical test done after face paints and distorted in order to understand the origin of contempt suffers his body, his intelligence, his commitment. Although you have given way to familiarity for a short period, the wound was deep, for love not consummated, the quiet, often leads to eternal reminder.
Subtle, elegant, flawless, sublime, Un coeur en hiver showed the great moment in French cinema, the most important European film archives of those days and the final ascent to the altar Emmanuelle moviegoers. Also, ice cream and bittersweet. As the film Farewell Sautet: Nelly et Monsieur Arnaud (Nelly and Mr. Arnaud, 1995), another unforgettable title, again with the same actress in the center of an impossible relationship similar end: the heroin lost, is lost in the crowd.
Un coeur en hiver (A Heart in Winter, 1992)
In the book 1001 movies you must to do before you die (Editorial Grijalbo) no details titles C. Sautet.
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