Amazon.com

Daniel Auteuil (Manon of the Spring) plays Stephane, the curiously diffident coowner of an exclusive violin brokerage and repair shop. A brilliant technician, Stephane can make any instrument live up to its promise, yet he is emotionally remote himself, disconnected from passionate experience. His partner, Maxime (André Dussollier), lacks Stephane's gifts but is rich in personality and desire. When Maxime's new lover, a violinist named Camille (Emmanuelle Béart), is drawn to Stephane's still waters, the latter is briefly moved, thus destroying the fragile, symbiotic relationship between all three individuals. Veteran French filmmaker Claude Sautet (of the Oscar-winning César et Rosalie) has made a powerful film here expressed in the smallest of gestures, just as one might tune the strings of a violin ever-so-slightly to achieve perfection. Sautet indeed employs such a sonorous motif in this story, in which violins always seem to be playing and suggesting that the principal characters look at life as they do music: something to be tinkered with and manipulated for effect. --Tom Keogh ... Read more

Reviews (42)

If you get a chance to see only one Fr. film, then see this.
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.

Devotion, dreams and their agonising absence
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.

I second that; DVD please!
I have waited long enough since the movie was released back in the 90's. Again, DVD please!

The instruments of Ravel's trio
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.

....
About Compassion? Its characters are compassionate for music and one another, the film is passionate for its characters and music. The discordant harmony and delicate beauty of the music is the perfect description of this film. Its style is bare maybe even a bit cold, but it doesn't really have an effect on the contents of the movie. Five stars... although there are movies I consider better, I was absorbed in this as much as in most others.

I'd recommend either a purchase or a rental. I can imagine wanting to watch this in the future, although it would be preferable to have this on dvd, even though it is a film that reaches beyond the quality of its visuals.

(About the quotes on the amazon vhs cover... the ones about it being "Sexy" and a "Super Hot French Movie"... they aren't really true, at least in a visceral sense... I somehow doubth the critics responsible for them bothered to watch the flim.) ... Read more

Reviews (1)

Very good.
If you're a fan of Yves Montand & Michel Piccoli (as I am), you'll be happy you got this movie. A bitter-sweet story of middle-aged pals who all have disappointments/troubles but manage to hang together inspite of the life changes that threaten to pull them apart. ... Read more

Amazon.com

Nelly (Emmanuelle Béart), a young married woman disillusioned with life and her self-unemployed husband, meets Monsieur Arnaud (Michel Serrault), an older, retired judge and businessman, through a mutual friend.The two begin a subtle, undefined relationship that leaves them in the end changed a little more profoundly than either expected. Monsieur Arnaud offers Nelly a considerable sum of money to pay her debts, no strings attached. Along with the money she accepts a job assisting Arnaud in writing his memoirs. As the writing progresses, Nelly comes to know the morally ambiguous past of her employer, and Arnaud contends with awakened feelings of longing. It ends abruptly when Arnaud and his ex-wife decide to tour the world on their way to Seattle, where he will see his estranged son. The French seem to have a talent for ambiguity and subtlety that this film shows off at its best. The relationship between the young woman and the older man is wonderfully intriguing in the way it plays out and changes each of them, and even more wonderful in that they never wind up in bed together. Béart and Serrault give flawless, nuanced performances as two people caught in each other's longing. A quiet and deeply satisfying film. --James McGrath ... Read more

Reviews (15)

Understatement at its best
A gentle movie that explores a complex relationship. Understatement at its best.

Nelly, played by the beautiful Emmanuelle Beart, is at crossroads of her life -- disillusioned with marital problems and aimless about future. She meets Arnaud, played by Michel Serrault, -- a gentleman, retired judge and businessman, wife separated -- at a cafe through a common friend. He helps her to overcome her debts and she in turn helps him to type his memoirs. Thus their interaction begins. Arnaud is infatuated by her beauty and personality (who wouldn't be?), but he is helpless in expressing that for the fact that he is of more than double-the-age of Nelly. She too is in love with the sophisticated, mature Arnaud but for the same reason as his, she is unable to accept it. She finds that her heart longs for Arnaud when she automatically rejects a live-in relationship proposed by a publisher-friend with whom she was dating and was happy.

They try to be and feel that they are happy together, all the time knowing that a complete and defined relationship is impossible. Both of them are tormented by their love for each other. Is it love in the romantic sense? May not be. There is an emotional vacuum in both their lives. And they fill each other very well. She needs someone mature enough to steady her drifting, aimless life and he needs someone to illuminate his dull, boring life. It is not lust. It is not romance. It is not friendship. It is not concern. It is not finding solace. Or is it lust? Is it romance? Is it friendship? Is it concern? Is it finding solace? Frankly, I am at loss trying to comprehend the nature, complexity, depth and layers of their relationship.

They know how much each one meant for the other at the time of their parting, when Arnaud's ex-wife takes him for a global tour. Arnaud, collected and withdrawn till then, embraces her passionately. Nelly, composed and passive till then, is shaken and devastated. They know it is coming to an end. The film ends with Arnaud thinking of her and Nelly trying to cope up with her daily life. I hate the ending as much as I love it. Perhaps, it was the appropriate ending. Not all relationships in life are complete; some end abruptly, some never ends.

Beart and Serrault are magnificent. I am amazed by her ability to bring about a variety of emotions with subtle facial expressions and effortless motion.

Intelectually rewarding, but emotionally underwhelming
Claude Sautet Nelly and Mr.Arnaud is a sumptous film to look at. Every frame in this film has bright and varied colors that look like pictures from an interior decorating magazine. It is at its most complling in its early scenes between Nelly and Mr.Arnaud, he is somewhat overbearing in his need to start conversation, or perhaps confess to past short comings. Yet he never beats around the bush so to speak because as one character in the film observes abot him "He has lived two lives." Emmanuelle Beart who is wonderful in this movie(and wonderful to look at) is quiet, observant and in an offhand way suggest a deep intelligence behind these eyes. She constantly handles herself in an relaxed manner, and only in the end when she learns of Mr.Arnauds leaving that she is slighly shaken. She like Mr.Arnaud has been through enough of life to have an understated reaction to what goes on around her. The film is best enjoyed on a quiet lonely afternoon where you can savour its decor and the almost to subtle character revelations. The trouble is that its almost too understated emotionally, the only music on the score that I recall is in the final minute. The characters are too seasoned for us to enjoy their self discovery. Perhaps the American equivelant of this film would be Martin Brest's Scent of A Woman, both feature the regretfull confessions of an older man to a seemingly distracted youthful companion. And although this film is more subtle, I was dying for the emotional release, the operatic splendor of that film. Nelly and Mr.Arnaud is intellectually satisfying but emotionally underwhelming. I'll have Pacino's wonderfull hysterics over it anyday of the week.

Subtitles Cut off on Widescreen TV?
Can anyone confirm that the 2nd line of subtitles are cut off the bottom of the screen when played on a widescreen tv? I began watching the film on my Sony 46" Widescreen and anytime a 2nd line of subtitles appeared on the screen I could only see the top of the words barely. I tried on another DVD player and it was the same. I tried all settings, (Full, Zoom, Wide-zoom, Normal) and all 4 cut the subtitles off. I ended up watching it on my 4X3 Sony 36" TV and I could read the subtitles. Anyway, good movie, just wish I could watch it on my Widescreen.

A Moment Missed
Like the graceful lines of the female form, there is an elegance to Claude Sautet's "Nelly and Monsieur Arnaud." Emmanuelle Beart's delicate beauty and an exceptional performance from Michel Serrault highlight this subtle film of unrequited love.

Beart's exquisite countenance as Nelly, who separates from her affable but lazy husband and begins working with former judge and businessman Monsieur Arnaud, complements perfectly the atmosphere Sautet creates for this look at what might have been. As Nelly helps the older and dignified Arnaud (Michel Serrault) with his memoirs, stolen glances and hesitations are the nuance framing their budding romance, deeply rooted but never allowed to bloom.

This is a stately film of moments missed and feelings unspoken. When do you take the chance? When do you tell someone you love them? How do you know when an infatuation has turned into real love? And is there a moment when it is too late to speak? This intellectually engaging and ultimately moving film deals with these questions. Perhaps the most telling moment comes when Arnaud sits watching the radiant and sleeping Beart. The deep love inside him reaches out for her but never touches her, his hand pulling back with his heart, afraid to try.

Though this film garnered the French Ceaser for direction and Serrault's performance, not lost is the elegance and grace of stunning beauty Emmanuelle Beart. There is a suppressed emotional longing to her performance. Like many foreign films, "Nelly and Monsieur Arnaud" has more of an overall emotional impact as a whole, rather than specific moments. This is definitely a film worth seeing, and owning.

Longing for Ageless Love
This is the film that I watch when I am in a decidedly Parisian mood. The lightning fast dialogue, the eloquent gestures and the few glimpses of the city conjure up that wonderful Parisian essence. The outdoor scenes are pre-wintry gray whereas the indoor scenes are softly luminous. These descriptions can also be attributed to the distinguished, older Monsieur Arnaud (a delightfully cynical but witty Michel Serrault) and the beautiful young Nelly (Emmanuelle Beart's loveliness saves her from mediocre acting abilities).

Nelly is a woman in her twenties struggling to make ends meet after being laid off from her publishing job. The fact that her husband (Charles Berling of Ridicule) is also out of work and completely demotivated allows her to entertain an offer that she would not normally accept - a substantial loan from a virtual stranger, Monsieur Arnaud. She meets Monsieur Arnaud through her elegant, older friend, Jacqueline who confides that she once had an affair with this judge turned successful businessman. Jacqueline was attracted by his ability to really listen to a woman and offer true friendship. Nelly ends up accepting Pierre Arnaud's offer to type up his memoirs, and the two develop a unique relationship as they match wits in editing his manuscript. He's alternately gruff yet admiring while she's coyly feigning nonchalance. An undeniable chemistry exists but is never physically expressed.

Monsieur Arnaud's publisher, the young, dark, somewhat smarmy Vincent is immediately attracted to Nelly. She's reluctantly drawn to him after spending an enjoyable evening with Monsieur Arnaud in one of Paris' most exclusive restaurants. Why she gets treated to this extravagant evening is a fun story in and of itself. After a dinner of remarkable fare, exceptional dessert wine (Chateau d'Yquem, 1961!) and flirtatious conversation, the desire to end the evening in intimacy results in Nelly seeking out Vincent. While Pierre Arnaud provides her with stimulating and heartfelt companionship, Vincent merely provides her with a physical outlet. Although Vincent wants more from Nelly, in her eyes, he cannot take Pierre's place.

The subplots also support the major theme of love and age. A sweetly sad movie that will satisfy those in the mood for good (French) dialogue and a twist on the May-December relationship. ... Read more

Reviews (1)

Schneider's Best Movie
This is a superb film about an ordinary woman's life. We come to see that the "simple" woman is actually heroic, complex, and fascinating. Direction, script, and especially the mature, graceful, heartfelt acting of Romy Schneider all come together in an underrated classic. ... Read more

Reviews (2)

A Mature, Beautifully Observed Love Triangle
Claude Sautet is one of the lesser known French directors in the United States, but he made a number of wonderful dramas about romantic relationships that are hard to find on DVD (two of his last films found an audience in the U.S.--Un Coeur en Hiver and Nelly and Monsieur Arnaud). Cesar and Rosalie is one of his best with memorable performances by Yves Montand, Sami Frey, and the extraordinary Romy Schneider. The love triangle in this film is unpredicatable and touching. Another Sautet film that should be released is Vincent Francois Paul and the Others, which is a melancholy ode to love and friendship.

1st review for this movie. Wow.
That's indicative, I guess, of the overwhelming popularity of Claude Sautet's *Cesar and Rosalie*. No matter -- it's still one of the most plausible "love-triangle" movies ever made. There are many reasons for this, starting with Sautet's refusal to be just another New Wave-wannabe. A good plan, considering that by 1972 the movement had run its natural course, anyway. There are no jump-cuts here; no socio-political commentary; no stylistic flourishes. Although *Cesar and Rosalie* ranks as an "auteur" film, technically speaking (i.e., by its virtue of being written and directed by one man), the director makes a big point of not investing it with "personality" or trademark tics which we can point to. With this film, Sautet announced his ongoing obsession with the unsatisfied bourgeoisie, an obsession that typically manifested itself in the form of a May-December romance. This movie is no different: here we have Yves Montand as a middle-aged wealthy dealer in car parts, and the lovely Romy Schneider as his live-in partner. Schneider's Rosalie is a free spirit in the Sixties vein, but she's no ingenue: she's been around the block a time or two. Around 30, she has a young daughter from a previous marriage, and is confident enough to be of some considerable help to Montand's Cesar with his auto business. She's wise enough to not put up with Cesar's fussy nonsense. Enter David (well-played by Sami Frey), an old flame -- though NOT the father of her kid -- who is determined to win her back. With this fairly predictable set-up, Sautet proceeds to frustrate our expectations and surprise us at almost every turn, making for an engrossing viewing experience. All three of the principles are excellent. Schneider was always at her best in Sautet's films. . . . Yves Montand delivers what may be the performance of his life in the role of manic, joyful, and dangerously belligerent Cesar. . . . Sami Frey as the Other Man is of course the opposite of Cesar: thoughtful, younger, rather ineffectual, and just plain quiet. The movie doesn't take sides, either. Each man's faults and virtues -- to say nothing of Rosalie's faults and virtues -- are meticulously laid-out in an egalitarian display. ... Read more

Reviews (2)

A Mature, Beautifully Observed Love Triangle
Claude Sautet is one of the lesser known French directors in the United States, but he made a number of wonderful dramas about romantic relationships that are hard to find on DVD (two of his last films found an audience in the U.S.--Un Coeur en Hiver and Nelly and Monsieur Arnaud). Cesar and Rosalie is one of his best with memorable performances by Yves Montand, Sami Frey, and the extraordinary Romy Schneider. The love triangle in this film is unpredicatable and touching. Another Sautet film that should be released is Vincent Francois Paul and the Others, which is a melancholy ode to love and friendship.

1st review for this movie. Wow.
That's indicative, I guess, of the overwhelming popularity of Claude Sautet's *Cesar and Rosalie*. No matter -- it's still one of the most plausible "love-triangle" movies ever made. There are many reasons for this, starting with Sautet's refusal to be just another New Wave-wannabe. A good plan, considering that by 1972 the movement had run its natural course, anyway. There are no jump-cuts here; no socio-political commentary; no stylistic flourishes. Although *Cesar and Rosalie* ranks as an "auteur" film, technically speaking (i.e., by its virtue of being written and directed by one man), the director makes a big point of not investing it with "personality" or trademark tics which we can point to. With this film, Sautet announced his ongoing obsession with the unsatisfied bourgeoisie, an obsession that typically manifested itself in the form of a May-December romance. This movie is no different: here we have Yves Montand as a middle-aged wealthy dealer in car parts, and the lovely Romy Schneider as his live-in partner. Schneider's Rosalie is a free spirit in the Sixties vein, but she's no ingenue: she's been around the block a time or two. Around 30, she has a young daughter from a previous marriage, and is confident enough to be of some considerable help to Montand's Cesar with his auto business. She's wise enough to not put up with Cesar's fussy nonsense. Enter David (well-played by Sami Frey), an old flame -- though NOT the father of her kid -- who is determined to win her back. With this fairly predictable set-up, Sautet proceeds to frustrate our expectations and surprise us at almost every turn, making for an engrossing viewing experience. All three of the principles are excellent. Schneider was always at her best in Sautet's films. . . . Yves Montand delivers what may be the performance of his life in the role of manic, joyful, and dangerously belligerent Cesar. . . . Sami Frey as the Other Man is of course the opposite of Cesar: thoughtful, younger, rather ineffectual, and just plain quiet. The movie doesn't take sides, either. Each man's faults and virtues -- to say nothing of Rosalie's faults and virtues -- are meticulously laid-out in an egalitarian display. ... Read more