THE ROMANCE OF ASTREA AND CELADON (Cont.)
Wednesday, 24th February 2010

(Cont.)
The fable has to be accepted on its own terms but such elements as the Arcadian setting, the occasional use of song and even the cross-dressing in the second half are all close to what can be found in Shakespeare. But even more fascinating are those aspects that seem quintessentially part of French culture. A highlight of the film comes in the middle and takes place in the temple built to Astrea which is venerated by Celadon’s brother and his wife Phillis (Mathilde Mosnier) and, indeed, by all who take great love seriously. Their viewpoint is challenged by the worldly philanderer Semire (Arthur Dupont). The ensuing discussion, a philosophical debate about the nature of love, is presented here in a manner that finds the film perfectly attuned to the French roots of its source material. It’s also interesting to note how one scene which involves an exposed female breast (a moment taken precisely from the original) illustrates how an elderly film-maker can create an episode that expresses erotic beauty without the slightest hint of titillation or voyeurism.

The Romance of Astrea and Celadon is such a unique work that it is perhaps not surprising that it has its detractors as well as its admirers, but it expresses aspects of French culture attempted by no other film and so perfectly acts as a channel for the reflection on love found within it that it would be a pity not to give Eastbourne audiences the chance to judge it for themselves. Rohmer always knew that this was a risky project that might well not please all, but he went ahead because he had set his heart on it. If this is, indeed, his last film, I for one believe that it is a not unworthy conclusion to a remarkable career.
Programme Note by Mansel Stimpson.