Thanks Doug and Andrew. Before posting I checked with a native French speaker about the relationship between English & French in this cine-poem and he saved me from a mistake to which I was blind. I can understand reading the cine-poem in two moods, since the mood of the main character in the film shifts radically and often. Though I liked the second line when I saw it, I might not have used it if the subsequent line didn't "treat" it with that comic rhyme.
You've encouraged me to adopt a similar plan for this Sunday's screening of Rohmer's CONTE d'AUTOMNE, except that I'll try to start the seventh line with an apostrophe --thus yielding 14 lines. Oddly enough, I'll again try to fit in a viewing of a Korean film (Hong Sang-soo's OKI'S MOVIE), overtly compared to Rohmer's RENDEZVOUS IN PARIS, before rushing from that museum to the one showing Rohmer's film. I'll probably miss 5-10 minutes, but I've seen it twice before and the acrostic will compensate for the loss.
Barry
On Fri, 22 Apr 2011 12:24:40 +0800, andrew burke <[log in to unmask]> wrote:
>It's a bucking poem, Barry. I had to read it in two moods to catch it: the
>night mood and the morning mood. The line that stood out for me (by itself,
>that is), was 'One can rarely read people's hearts.' Rarely would be good!
>
>Andrew
On Thu, 21 Apr 2011 21:15:42 -0600, Douglas Barbour <[log in to unmask]> wrote:
>I like it Barry; the little turns of phrase & between languages...
>
>& a sense of Rohmer's own vision, so far removed in its way...
>
>Doug
>On 2011-04-20, at 1:08 PM, Barry Alpert wrote:
CONTE d'HIVER
via Eric Rohmer
Charles dans la rue . . .
One can rarely read people's hearts.
Nothing about him, the whole or the parts.
Temps maintenant:
even quarrel
dead exiles who appear resurrected,
her dead likeness excels.
I like your silence,
votre coeur,
esprit large.
Run away?
Barry Alpert / Silver Spring MD US / 4-20-11 (3:03 PM)
After deciding to fit in a viewing of a recent film (HAHAHA) by a Korean director (Hong Sang-soo) admittedly influenced by Eric Rohmer, I arrived 25 minutes late for either my second or third experience of Rohmer's TALE OF WINTER. Only by choosing to draft an acrostic did I feel I might carve out a potentially presentable text from what I heard and saw while watching Rohmer's film, especially since I still haven't revised the intuitive drafts I wrote while viewing the first two features in the complete retrospective now in progress.
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