Mary Poppins Returns
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All Critics (11)
| Top Critics (5)
| Fresh (9)
| Rotten (2)
This minor Rohmer may not have much to offer beyond the clarity of its perspective (and the soft beauty of Nestor Almendros's delicate cinematography), but its message will only grow more urgent in time.
Marquise is almost ironically uninflected, like a tense game of chess. But soon the no-nonsense two-shots and scarlet-satin self-consciousness let the story build to genuine fireworks.
The film's slow, stately pace and the quiet way in which it makes its points give it the aura of a neoclassical dream, a fading vision of the virtue of gentility.
[Rohmer] opting, in his colour scheme, sets and camerawork, for a style that hovers between formalism and realism, and so further distances the viewer from the characters.
It's a dazzling testament to the civilizing effects of several different arts, witty, joyous and so beautiful.
This picture, all gussied up into stage tableaux, looks like a Goethe House Gala performed in Bloomingdale's Show Rooms.
Without actual imitation, Rohmer and his cinematographer Nestor Almendros were inspired by German Romantic painters and bathe the neo-classical interiors in an unearthly light.
What is unarguable is Rohmer's mastery of the discreetly erotic.
The first of Rohmer's profoundly strange excursions into the past
A fascinating and sympathetic portrait of an abused woman is given life and depth by Rohmer's eloquent direction.
There are no featured reviews for Die Marquise von O... (The Marquise of O) at this time.
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