Elisabeth
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Elisabeth
Description
Witty banter, lust, ennui, and an undercurrent of violence percolate beneath a seemingly paradisiacal summer on the eve of World War II, in this landmark translation of the first and only novel by Éric Rohmer, the French New Wave’s most prolific and beloved filmmaker.
Fifteen years before completing his first feature film – and ten before beginning a transformative editorial stint at Cahiers du cinéma that would usher the journal, and French cinema, into a new era – the man who would become known worldwide as Éric Rohmer published a single novel. Released by Éditions Gallimard alongside the early works of Claude Simon and Marguérite Duras, Élisabeth was part of the first flowering of what would come to be known as the nouveau roman – and was also the 'matrix', as Rohmer himself later put it, of the images, ideas, and formal concerns of his first sequence of films, Six Moral Tales.
Set in the sunstruck countryside east of Paris during the summer of 1939, a year ahead of the German invasion, where the upper-middle-class Roby family and its eponymous matriarch are spending a listless summer, Élisabeth is a war-novel awaiting a war. While the teenage Roby children and their friends swim, flirt, and lie to one another among the baking fields and icy meanders of the Marne, the novel becomes the scene of an anticipatory haunting. The simmering paranoia, calculated blankness, and potential violence of the coming Occupation are already present – as it were, in mufti. With a cool, kaleidoscopic eye, Rohmer lays out his protagonists and their precarious peace – their restlessness, their desperate boredom, their petty romantic agonies – with the unsettling chilliness and the sinister exactitude of details on a tactical map.
'The father of the French New Wave...Rohmer’s surfaces aren’t placid but taut; they’re smooth because of their almost unbearably high tension.' – Richard Brody, The New Yorker
'Rohmer was one of a handful of really great filmmakers of the last half-century. I can’t think of a greater.' – Geoffrey O’Brien, The New York Review of Books
'Rohmer, as critic, editor, and friend, through his writings, activities, and personal influence, was the father of the French New Wave...In his youth, he had little interest in movies at all, but he was a gifted student and was good at philosophy, literature, drawing, music, and theatre...He had already started sketching Élisabeth at age nineteen...Rohmer’s surfaces aren’t placid but taut; they’re smooth because of their almost unbearably high tension, and their tautness is like that of a membrane that could, with a prick, be definitively burst, giving way to an unpredictably chaotic eruption of pent-up passion.' – Richard Brody, The New Yorker
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