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Un Cœur en hiver 1992
Description: Pretty violin virtuoso Camille has two obsessions: the melody of Ravel, and a mate of her husband's who crafts violins. But his heart seems to be as cold as her testing is passionate.
Released: 04 Jun 1993 Director: Claude Sautet Writers: Claude Sautet (scenario and dialogue), Jacques Fieschi (scenario and dialogue), Jérôme Tonnerre (scenario collaborator), Yves Ulmann (collaborating writer) Actors: Daniel Auteuil, Emmanuelle Béart, André Dussollier, Elizabeth Bourgine Genres: Drama, Romance
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Un Cœur en hiver Reviews:

Brother, can you spare a heart?In Un Coeur en Hiver, the late Claude Sautet looks into the heart of Stephane, a master violin craftsman (Daniel Auteuil), and finds only ice. Stephane is an observer of life, not a participant. The movie reveals the consequences of his emotional isolation, of what he has to give up in order to maintain his solitude. Un Coeur en Hiver is as far from a typical Hollywood romance as Casablanca is from L'Avventura. The movie is almost a revisionist portrayal of the usual debonair French romantic lover. While the lovely sonatas and trios of Maurice Ravel form a haunting background, there is a lifeless quality to Stephane and ennui is a palpable presence throughout.Stephane seems ready to leap into a passionate relationship with a pretty young violinist, Camille (Emmanuelle Beart) after Maxim, his partner for many years (also in love with Camille), introduces her to Stephane. Stephane, however, is unable to relate to Maxim's friendship or to his growing attraction to Camille and becomes distant and manipulative. Held back by his reluctance to take risks, his relationship with Camille provides him with the forms of intimacy but without the substance. No pat psychological interpretation is provided but is left to the viewer to interpret. The camera is reserved and intimate. For the most part, emotions are conveyed through glances, expressions, and silences rather than dialogue.The stage where Camille finally explodes out of frustration over Stephane's emotional distance, however, is powerful, yet is not enough to shake the reluctant lover from his hiding place. At a restaurant, Camille says Stephanie, "He tells he likes melody because "music is dreams". "Poor jerk", she blurts out, "You know nothing about dreams". Pointing to his heart, she says, "There is nothing in there, nothing. No imagination, no heart, no balls". Stephane simply sits there with a half grin on his face. I should really feel Camille's frustration in trying to pluck fruit from a barren tree.Auteuil's outstanding performance makes him a likable figure, a really sweet guy but a very sad one. I felt repeatedly like shaking him from his lethargy and exposing him to joy and the rhythmic beauty of life, perhaps adding a tiny Mozart to his Ravel.At the end, however, there is some hero development. Stephane finally recognizes that "there is something lifeless inside of me." As his mates depart, he is left sitting alone at a restaurant table, poignantly feeling his loneliness. Perhaps this insight is the beginning of his transformation. A very sad movie but beautifully realized.


A visually-beautiful film. Even if the plot were not nice (but it is) it would still be worth seeing for its good-looks.Beart (Camille) is magnificent! When I first saw the movie I thought she was a true violinist, so convincing was her 'playing'. She and Auteuil (Stephane) employ that subtle 'facial' acting, so famous in French cinema. As both their faces are quite lovely, this is a pleasure to watch. Is Beart the most pretty girl on screen? Probably.This film is like a dream sometimes. It gives clues to the riddles of the characters, but does not reveal their essences. Sometimes you have to wonder if the storyline is really a type of allegory, with the characters as symbols, their full significance yet to be revealed.Look out for what appears to be an necessary stage featuring Stephane's parents, towards the end of the film. It is not obviously enlightening, but it may prove to keep the key to his love-less character. There is a climax to the story, but no true resolution or explanation. Yes, it's the 'Picnic at Hanging Rock' unresolved-ending phenomenon back with a vengeance. And how much more interesting it makes this intriguing story!Oh - and the melody is a substantial part of the movie - not just 'background', which is a nice thing.


The plot revolves around the 'love triangle' of Camille, Stephan, and Maxine. Camille is a young up and coming concert violinist, and Stephan and Maxine are violin craftsmen. Camille is one of their many clients. The main hero of this film, Stephan--played by Daniel Auteuil--is brilliant. He is a nice looking and quiet boy who knows what he wants and is safe in this: solitude--regardless of the amorous advances of Camille, the pretty and brilliant young violinist who winds up dating his business partner Maxime, and whom he should seduce very easily. Many folks analyzing Stephan's hero would instantly tell that he is sociopathic, deranged, insecure, or whatever. But Stephan is now totally in control of his life throughout the entire film. He is not aware of fleeting passions like infatuation because he does not exist outside of passion: He is passion incarnate as he is very in tune with what he wants and is skillful at asserting his desires; so much so that those who encounter him become very jarred. His personna functions as a mirror that reflects another people's neuroses and fears back at them instead of absorbing them into itself and thus becoming poisoned. In this way, he's almost like a freelance android psychoanalyst passing through various bistros and concert halls in Paris, and disrupting the otherwise 'normal' relationships of those he encounters. The psychological tension throughout the movie is thick from the start, and reaches a mission of absolute saturation at its apogee. The viewer cannot support but search himself emotionally invested in the plot. The background score of the movie is beautiful.



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