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Cast

Haydee Politoff
as Haydee

Patrick Bauchau
as Adrien

Daniel Pommereulle
as Daniel

Mijanou Bardot
as Carole

Gene Archer
as Sam

Eugene Archer
as Sam Hertzberg

Annick Morice
as Carole's Friend

Annik Morice
as Friend

Denis Berry
as Boy

Alain Jouffroy
as Writer

Brian Belshaw
as Haydee's Lover

Donald Cammell
as Boy at St. Tropez

Alfred De Graff
as Lost Tourist

Pierre Richard Bre
as Man in Car

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Critic Reviews for La Collectionneuse

Audience Reviews for La Collectionneuse

• Oct 03, 2015

  La Collectionneuse makes an effort and winds up being silly. This is fine if you are easy-going and collect French films from the 60s. If not, you may find the film easy to dislike.
  Robert B Super Reviewer
• Jul 25, 2014

  <b>Eric Rohmer's 4th Moral Tale</b> --><i>Possible moral topic(s) treated:</i> Morality of friendships and relationships based on physical appearance; lustful affairs vs. the curiosity of participating in them. Let's first check whether if the elements in Rohmer's moral tales are present here as well: ? Another love triangle. ? The moral wall of the protagonist in a danger of crumbling down. ? The woman as the center of the moral danger. ? The narrative structure employing the voiceover of the protagonist. ? The three parties play almost an equally important role, as in an isosceless triangle. ? No music, just faces, emotions, with the voiceovers explaining the hidden thoughts and ideas in a literary fashion. ? Only one character, the protagonist, speaks in voiceover. We adapt the whole perspective of one character in particular. ? The ending is abrupt, and extremely realistic. Yup, everything is here. <i>La Collectionneuse</i> is also connected with the rest of the moral tales. + It feels like the following step forward from the <b>second moral tale</b>, <i>Suzanne's Career</i> (1963). Haydée, the object of desire here, has a career, just like Suzanne. She is a collector, probably the highest epitome of "immorality" in relationships, a disgusting career, to be honest. But that's Haydée. She collects men, and the protagonist Adrien is one inch from participating in her collection, which is a weird analogy between the profession of money-driven art collectors who might seek money (against sex, both being immediate pleasures) and love (against art, both being transcendent to the human condition). + For the first time, Haydée, the dangerous seductress, is graphically presented as attractive merely from a physical point of view, because hilariously enough, even her facial beauty is debated in the film. That's what would make Claire in the <b>fifth moral tale</b>, <i>Claire's Knee</i> (1970), an even more dangerous weapon: without the need of being a collectionist seductress, she can drive the attention of any man around her: amazing body, a beautiful face (unlike Haydée), and a desirable knee! Maybe two! + Speaking about <i>Claire's Knee</i>, Rohmer's masterpiece, the situation emulates and predicts the <b>fifth moral tale</b>, from the physical attraction, to the isolation of the house where the events take place, the calmness of the sea, and the imagined conspiracies of the protagonist that want to take [Haydée/Claire] away from him. + Finally, it does feel like a film that was made after <i>My Night at Maud's</i> (1969), which was released after this film for delayed production. The unnatural easiness, almost scratching the realm of the fantastic, with which the characters can express their complex lines of thoughts and feelings so fluently and eloquently was first displayed in that <b>third moral tale</b>. The best thing was yet to come, but <i>La Collectionneuse</i> is a highly challenging piece of introspective, centerpiece drama. 91/100
  Edgar C Super Reviewer

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