Customer Reviews

Un Coeur En Hiver [VHS]

5 star:		(64)
4 star:		(12)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

The title translates as "a heart in winter." A cold heart, bereft of love. A heart incapable of any emotion at all. That describes Stephane (Daniel Auteuil), a solitary violin maker and repairman. A man with the soul of an artist, but none of the talent.

Stephane is partnered with Maxime (Andre Dussollier) in a thriving business. Maxime is everything that Stephane is not: gregarious, confident, extroverted. Together they form a successful team. Maxime brings in the clients and Stephane does the work. They both are quite happy.

One day Maxime introduces Stephane to his new love, Camille (Emmanuel Beart), a beautiful violinist. He is cold to her at first, but the music she makes gradually stirs something in him. She in turns responds to him. She can sense that he has the heart of a musician, but something is wrong. Something is keeping him from opening his heart to anyone else. That something is music. Stephane is surrounded constantly by beautiful music, but none of it emanates from him.

We come to realize why Stephane, once a promising musician, gave up music. The sounds his fingers made could never equal the music he heard in his soul so he quit. Rather than risk the pain of further disappointment in life, he chose instead to feel nothing at all. If that meant forgoing love, it was a price that he had to pay.

Camille eventually confesses to Maxime that she is in love with his partner. Maxime is hurt, but what can he do? She goes to Stephane. We can see that he probably loves her as well, but still he refuses her. He will not allow her into his heart. She is hurt by this, but she has her music and Maxime and, perhaps, that is enough. She is too proud to play the woman scorned.

Emmanuelle Beart gives a truly wonderful performance as Camille. She is stunning to look at, of course, but as a gifted actress, she will not settle for just that. Her work is meticulously crafted, imbibing her role with dignity and grace. She studied for a year to learn to be a convincing violinist and she succeeds magnificently.

Daniel Auteuil is also excellent, playing the difficult part of a man who keeps his thoughts and emotions very much to himself. It is a subtle performance, filled with poignant suggestions and nuances. His carefully guarded expressions and manner prove that still waters do run deep.

As is typical of most of the finer French films, "Un Coeur en Hiver" is a very mature, adult film. Not in the sexual sense--there is nothing even remotely objectionable in it--but rather in terms of its thoughtfulness and sophistication. The relationships in this film, as in real life, demonstrate that love is never easy. There isn't always a happy ending, and just because a man and a woman should get together, that does not mean they will.

It's a fine art this violin tuning. Watching the characters in Claude Sautet's Un Coeur En Hiver (A Heart in Winter) as they debate the clarity, density and heaviness of that instrument's voice, you may think that it's all in their head. The beautiful instrument's incompetence nothing but a manifestation of their own insecurities. But then the process of watching this lovely film is, in itself, a fine art. In its delicate progress, the viewer is drawn in till he/she hears entire exchanges in a shared glance. Pain, humor, relief and agony in a moment of silence. Another person wondering in midway through the film may ask what in the world is so absorbing. There are scenes of great beauty in the film, there is a superb use of music, "those irrelevant dreams". But as in Sautet's somewhat lesser Nelly and Monsieur Arnaud, what is left unsaid, unresolved and unrequited is far more important then what is.

There are two sets of masters and their apprentices in the film. Maxime (Andre Dussollier) and his business partner Stephane (Daniel Auteuil). Together, they own a shop where the reticent Stephane builds and fixes violins with great precision, and Maxime handles the business and social side of things. Then there is Camille (Emanuelle Beart) and her agent Regine (Brigitte Cattilon). Both Camille and Stephane appear frigid at first, they channel all their energy into their work, while the others live their lives for them. It is a convenient way of life for Stephane, the Heart in Winter of the title. But Camille is still open, still warm enough to seek love. So when Maxime introduces Camille as his lover, there is visible hurt on Stephane's face. At first it seems that he is jealous of her, or him, but then I realised that he was jealous of their readiness to, and faith in love. A tentative and unacknowledged romance develops between Stephane and Camille. They meet at the studio, and he takes her out for a drink. For the first time in the film, she smiles. They seem to be comfortable together. And since this is a French film, love is not defined as some magical formula, but a relationship in which each partner could to dilute their obsessions, to be at ease with themselves. But Stephane freezes, he breaks off all voluntary contact with Camille.

It is tempting to think that this abrupt change of heart on his part was because of fear, a reluctance to give up his carefully constructed world. Perhaps his dedication to his craft was so great, that he feared his love of Camille would lessen the quality of his work. Why would he ever attempt to make the perfect violin when perfection is right beside him in Emmanuelle Beart. And my, is she perfect. It is even more tempting to believe that he has abandoned her for the sake of his friend in a Casablanca sort of sacrifice. What makes the A Heart in Winter so special is that Sautet doesn't choose either of those easy answers, although they are viable. Instead we are left with the tragic notion that there are people like Stephane who are incapable of emotion, "Something is broken inside." In a moving scene, Auteuil drives away from Beart, crying. Some will think his tears are for a love he can never acknowledge. Perceptive viewers will understand he is crying because he knows he can never feel love. All he can feel is the lack.

This is a wonderful French movie with subtitles, easily one of the best movies I have ever seen, I enjoyed it immensely, so much that I had to buy it to watch again and again.

The movie is about two men who own a violin shop and they both fall in love with a beautiful soloist who becomes their client, her violin is a wonderful sounding Vulliame with an incredible tone. There are wonderful performances of Ravel's trio and sonatas throughout the movie.

The movie makes a profound statement about violin making, musical interpretation, the awkwardness and inconvenience of true love, jealousy, death, inner feelings that are rarely spoken, how friendship can change over a woman, and how a man's heart has become frozen from a life of romantic solitude.

What I found most interesting about the plot is that we do not know if Camille and Stephen will eventually become lovers, he say he will attend her next recital in Paris and she drives away with Maxim looking at him with adoring eyes. Paris is like New York, you have to be big to play there so apparently by this time Camille has become popular. One thing we do know is that Stephen does have a life and says he is not worthless because of his abilities as a violin luthier. In the end, Stephan is left with his violins: woman or no woman we never know if he will be forever trapped in his frozen world...

Fans of "The Red Violin" will love this movie but I would recommend this to anyone who loves romance and violin performance, essential viewing and not to be missed.

The extremely languid unveiling of the romantic triangle and the endless discussions of art and philosophy may not be for all tastes, but Un Coeur en Hiver would be a success just on the terms of performance and aesthetics.

Emmanuelle Beart once again finds the repressed warmth in a seemingly frigid character, always letting a sense of vulnerability (but also defiance) bleed from an arrogant surface. Daniel Auteuil cleverly shrinks into the background with a very restrained performance, and Andre Dussolier is very good as his long-suffering but loyal partner.

The soapy premise is offset by certain key sequences of scathing emotional intensity -- for example, when Beart dons the makeup and starts attacking Auteuil across the table, it's devastating watching her facade crumble in the face of emotional hurt. And then, the best sequences in the film: The scenes of musical performance, where the concentrated ferocity on Beart's face (who allegedly trained 16 months on the violin to prepare for the role), the swirling music, the chemistry of the musicians and the ravished look on Auteuil's face as he listens are about as close as any film has come to capturing the essence of the bond among musicians, where spirits and feelings collide through art.

If you get a chance to see only one French movie, then see this.

I have seen 'Un Coeur en Hiver' many times. I intend to see it for many more years to come. At times I wonder what is that makes me see it again and again. Every time I watch it I find new depths, I find new meanings, I explore new thoughts. The music is too good. I am too ignorant on music to comment any more. But it surely is haunting. The colours in each frame are marvellous, so pleasing to eyes.

Emmanuelle Beart (Camille) and Daniel Auteuil (Stephane) are exceptional in this movie. Camille is charming, focussed, intense but at the same time subtle and vulnerable. Very few can express such controlled emotions. Three scenes are etched in my mind.

One, the way she looks at Stephane after he fine-tunes her violin during her practice session. Nothing is said, except some mono-syllables. Stephane concentrating on her performance, and she judging him, analyzing him -- all expressed with a glance, subtle smile or intense looks. Second, the way she handles her disappointment, anger, sense of betrayal after Stephane rejects her proposal in the car. She waits for her anger to subside, waits to regain self-control and then opens the door and gets out. Superbly acted, so much understated. Third must be one of her finest performance -- the way she lets her lose herself in the restaurant. Sarcasm, indifference, imploration, helplessness, feeling of being betrayed --- all these in sequence in minutes. Then she shivers in anger and explodes and then breaks down. She is ashamed as she is very proud of herself. All these time, Stephane is as cold as winter, not knowing what to do (or he knows what to do but not be able to do it?)

The irony of the movie is that Stephane, a master technician, who repairs and fine-tunes violin strings to make clearer, harmonious music fails to do the same with the broken strings of a gifted violinist.

The three personalities in this wonderful movie are the three instruments in Ravel's trio: Stephane (cello) and Maxim (piano). They fight with each other for the right to play with Camille, the violin.
One of the best memorable scenes is when Camille is recording Ravel's trio and Stephane is listening. At that moment, he begins to claim for himself the right to be close to beauty, a feeling he has rejected for many years under the shadow of Maxim.

Perhaps the best incorporation of music into a film I've ever seen. Sautet takes the time to let the viewer listen to the music and see how the main characters serve the goal of making beautiful art. By doing so, he illustrates the role this wonderful music has in the lives of the three main characters and adds meaning to the sacrifices made by all three main characters.

So many films present the passions of their main characters through throwaway sequences or ineffectual speeches. This movie understands music and is able to present music and music making in a way that enables the viewer to share this passion (whether a classical music lover or not.)

In addition to the traditional love triangle story (which has never been as fresh) all three participants serve the music and the conflict between art and human relationships presents itself in a compassionate and beautiful film.

A wonderful group of supporting actors and storylines add dimension to this study on fidelity and friendship. Sautet provides a glimpse at relationships which "bookend" the main characters - a couple at the end of their lives together and an apprentice beginning his life with his new bride.

This movie is brilliantly conceived and wonderfully executed. I only hope they release this on DVD so that I will no longer have to worry about my VHS copy wearing out!

This is a film that stays in the mind for a long long time. Emanuelle Beart's performance is quite wonderful - in particular her emotional explosion (or should that be implosion?) in the restaurant (as mentioned by several other reviewers) is quite superb and totally believable. However one shouldn't underestimate the contribution from Daniel Auteuil - to make a character so emotionally cold and yet somehow sympathetic underlines the quality throughout. My words don't do this film nearly enough justice. Suffice to say that you can't get this video in the U.K. (you don't know how envious I am) - let alone at this incredible price!

You can't depict this movie in one word. The strange rapport between Daniel Daniel Auteuil and Emmanuel Beart (also can be found in Manon of the Spring) is enough to attract the true movie viewers. I've seen four movies Beart appears(this one, Manon.., L'enfer and very sadly Mission Impossible), and except the Mission Impossible, she gives the very best in all of them.

As much as I love the performances that the actors/actresses gave in the movie, one of the major factors that make this movie so thrilling(in somewhat strange ways) is the music. Beautiful yet sometimes cacophinic melody of Ravel's sonata trio goes perfectly well with the entire movie.

My question always has been how I should interpret the title, a heart in winter. Is this the emptiness left in Auteuil's heart or Beart's destroyed love, or both. In any case, the movie gives you an experience you will never get from any other movie.

This is a beautiful and moving film about life and its limits. In the background, there is this extraordinary music and talent, in the phenomenally beautiful Béart. But the one who controls the action is a passive man, the violin artisan, whose skill is matched by a kind of personal sterility that is attractive. It makes for an unusual balance. This is the kind of film that could never come out of the Hollywood mill, that explores mature pain and hope.

Warmly recommended. The whole thing is like a poem with sound.