Eric Romer, Cinema of Ethical Maximalism (part 16) Part of the themes of “4 Adventures of Renette and Mirabelle” were developed by Romer in another of his almanac “Date in Paris”, the main task of which was to capture the soul of Paris, charming lovers around the world. It is no coincidence that in the second novel, the couple stroll through Parisian landmarks, figuring out relationships that are inseparable from the urban landscape. By the way, in the third novel, as once in “My Night at Maud’s”, dialogues are conducted not only on amorous, but also on art topics. The language will not turn to call “Dates in Paris” a passing picture, so captivating and sad, but let’s be honest: there are no new topics for Romer. Although this tape with its sadness resembles Wenders and Antonioni’s “Behind the Clouds” rather than Romer’s ribbons, which are somehow always light and airy.
The paradox of Dates in Paris is thematically nothing new, but atmosphericly it is not Romer. The power of chance, a kind of enchantment of the streets of Paris, mysteriously connecting and destroying couples – all this would seem a bold director’s assumption, implausible and illogical, if it were not Paris. The cunning of life castlings is a constant theme of Romer, in his early films presented not without rigorism, but starting with the first paintings “Comedies and Proverbs” and further, presented more in comic than dramatic tones. Such is the first novel, a pure farce, ridiculous and delightful in its destruction of audience expectations. On the other hand, an unexpected plot twist in the second novel leads to drama, not comedy. And finally, the third novella is antonyevsky sad and again tricks the viewer around his finger.
“Date in Paris” is, of course, a tautological re-examination of Romer’s signature themes and techniques, but so charming, funny, sad that it is very difficult to evaluate this tape low. The camera in it (often hand-held) - again on the streets, the breath of autumn and summer on the streets of Paris is transmitted to us. Lovers look for each other, quarrel and reconcile, connect and break up, as always with this director, talk a lot, trying to get to the bottom of their relationship (is it not by chance that Romer films are more liked by women who, as you know, love with their ears?!). Eric Romer in this picture, as in many others, shows himself a subtle analyst primarily of female insidiousness and impermanence, so captivating and at the same time infuriating men. That’s why “Dates in Paris” – even if only a collection of three sketches, and not a full-fledged film – is difficult to pass not only for a fan of Romer, but also for any cinephile who is always a little more and Francophile in the soul.