Un Coeur en Hiver (1993)

Six Stars...

"Stephane" played by Daniel Auteuil and "Maxime" played by Andre Dussollier are partners in a violin trading, making and repair business. Maxime plays the suave, handsome "new business developer" who mixes easily in the social circles. Stephane meanwhile is the quiet, somber, thoughtful, introverted master craftsman.

Maxime falls in love with a young, beautiful, classical violinist named Camille. Stephane happens to be present during a number of Maxime's dates and visits with Camille. Camille finds herself falling in love with Stephane who cannot reciprocate his love for her (or for anyone else for that matter.) Camille obsesses over Stephane and the unrequited love.

Daniel Auteuil is the star of the show - with all of his awkwardness in achieving any amount of intimacy. The storyline keeps you off-balance in this movie - - and the sexual and relationship tensions keep you fully engaged. I also appreciated the demonstration and beauty of the violin repair and tuning craft - and the magnificent contemporary classic music.
May 17, 2008

Un Coeur en Hiver is a beautiful, sensitive film

Un Coeur en Hiver is a film about the deepest human feelings and fears, especially fear of intimacy and fear of rejection. The film is the story of three people. Maxime and Stephane are long time professional associates who operate a small company which constructs and restores violins. Maxime runs the business end of the operation, and Stephane is an expert craftsman who handles the repairs. One day, Maxime informs Stephane that he has met somebody. A woman named Camille, a beautiful and talented violinist. Maxime explains that he and Camille have fallen in love and are planning to live together, but as Stephane and Camille begin spending time together in their professional capacities, it becomes clear that they are attracted to each other. Yet, for some reason Stephane refuses to act on his feelings further confusing Camille. To her, he is an enigma. Eventually, she asks him, "Why are you hiding from me?" Stephane, meanwhile, can only further distance himself from her. Eventually,Camille reveals to Stephane that she wants him, and can accept the fact that he lives in an enclosed world. Stephane replies that she misunderstands him. He cruelly tells her that he has wanted to seduce her, without loving her, and that he listens to her play her violin only because it is his job. Stephane, of course, is covering his true feelings. At first, this seems self destructive, as he is throwing away any chance for the involvement he desires with Camille. His remarks deeply hurt Camille, and, ultimately, she ends up settling for Maxime. At the end of the film, Stephane, Camille and Maxime meet in a cafe. As Camille and Maxime start to walk away there is a look of sadness on Camille's face. As Stephane is left alone, he too shares that look, but he remains unable to express his emotions and share his life with someone else. In his mind, his rejection of Camille is an act of self preservation.

In the beginning of Un Coeur en Hiver, it is observed that violins are the most precious possessions of violinists. This declaration has profound meaning as the scenario evolves. If the instruments are such, they are so because they are safe. They have no free will. They will never abandon their owners. If they fall apart from usage, they always can be repaired. They are dependable and reliable, unlike human beings. Even when two people connect, relations between them are inevitably less than harmonious. Emotions are complex and ever changing in human relationships, feelings are dependent upon the responses of others. Stephane is keenly aware of all this, and it is for this reason that despite his feelings, he distances himself from Camille. He is afraid of allowing himself to love her because of the pain he may be forced to endure. As a result, he presents himself as passionless, which even plays itself out during an intellectual discussion in which he professes to have no opinion on the subject at all.

In the end, Stephane is a lonely figure, one who is unconnected with life. His solitude shelters him, keeping him protected from the hurt feelings that are the offshoots of human connection. Every time I watch this movie I wonder is he better or worse off. While we all are solitary souls, if we do not choose to be brave and risk connecting emotionally with others, our lives can never be complete. This is one of my favorite movies and the beautiful music of Ravel played through the film compliments the somber aura of the story.

February 26, 2008

He can set a violin on fire, but not his own heart

Stephane is a master luthier, and can release the inner soul of a violin, by just nudging the bridge, or pushing the soundpost, he can bring magical sound and responsiveness to a violin. In so doing, he captures the heart of a beautiful violinist, herself repressed and detached, except when she plays. Camille, the violinist, finds herself inexplicably drawn to the quiet and withdrawn Stephane, who himself prefers to stay in the background, guard his own feelings and defer to his more flamboyant partner Maxime who is openly dating Camille. Yet, he allows Camille to see a glimpse of his love for music, the magic in dreams, and seduces her mentally and emotionally, by really listening to her and faithfully attending her recording sessions. In one session, he rushes in and insists on adjusting the instrument after hearing her play. Camille is then able to play with more emotion, feelings and passion, which in turn kindles a desire in her to draw out Stephane and have him experience the emotions he had awakened in her instrument.

Knowing that the instrument is an alter-ego to the musician, Stephane elicits the soloist to fall in love with him. However when she admits to him that she is in love with him, he cannot take the heightened emotionally charged atmosphere and withdraws further into his shell. Even though he was drawn into caring about Camille, Stephane denies it emphatically, which hurts Camille tremendously. About now the violin is forgotten, and the love triangle storyline marches on through a public humiliation, a broken partnership, with Camille returning to Maxime. As they drive off, she looks back at Stephane wistfully, who then returns to his usual business (or so it seems).

One is left with the feeling of loss and uncertainty for both Stephane and Camille, yet realizing that this ending is more realistic in the human drama, than a "happily ever after" type of ending typical in American films. I do like the complexity, behaviorial and psychological drama of this film, and its reflection on how life is, the bursts and episodes of heightened drama amongst the background of banal existence. November 22, 2007

really good not a blockbuster

Ok there is plenty of foreshadowing going on here...just look for it!! ....Stephane is the artist coaxing beauty from the instruments ..wooden and human. Something in past has obviously affected him....why does the violinist's teacher/mentor figure so predominately? She is way too interested in the threesome. Has this same triangle happened before?...Does it not state at the beginning that he used to go out with Maxime and doesn't go to "watch" anymore...Maxine can hook them casually but can he keep them or is there some kind of competition ? Can Stephane keep a relationship going,is he not wanting to try,is there sexual impotence ? Has this been the pattern. ..Isn't really the chase far more interesting than the boring dirty deed? ...He spared the girl by making himself the heel.He lied about the friendship, the feelings or maybe his ability. I don't think either person was really in true love..
I think he had plenty of pent up passion ..He got what he wanted ,to see her passion explode with the music..
......it's open ended..Fodder for a long goumet dinner....it's totally French. November 9, 2007

He can repair a violin, but can he mend a broken heart?

Directed by Claude Sautet (Oscar-winning Cesar & Rosalie), A Heart in Winter (Un caeur en hiver) is a 1992 French film starring Daniel Auteuil and his 10-year partner, Emmanuelle Béart. Set in Paris, the award-winning film tells the story of a love triangle involving Maxime (André Dussollier), Stéphane (Auteuil) and Camille (Béart). Camille is a beautiful and gifted violinist who embarks on a casual relationship with Maxime, the owner of a violin studio. Stéphane is Maxime's employee, friend and a master craftsman. He is passionate about violins. In sharp contrast to Maxime, who is outgoing and friendly, Stéphane is emotionally remote and brooding. When Camille meets him to have her violin repaired, she falls in love with him and then tells Maxime. From this point in the film, one wonders whether Stéphane will overcome his fear of heartache and sense of loyalty to his employer to take an emotional risk on Camille, or whether, like Anthony Hopkins' emotionally distant character in The Remains of the Day, Camille will become for him a missed opportunity and the source of lifelong regret. Stéphane may be a master craftsman when it comes to repairing violins, but does he know how to repair his own heart, a heart "in winter," seemingly incapable of loving? If not, how could Camille's love for Stéphane ever endure? One of the things I enjoy most about French films such as this is that, unlike Americans, the French seem so much more grownup in their attitudes toward sex and relationships. The relationship between Camille and Stéphane is not intended to be a typical Hollywood romance. It is more complex, and it may not live up to some viewers' expectations. This film avoids cliches, and the result is a film that feels real.

Daniel Auteuil and Emmanuelle Béart carry the film with their outstanding performances. A Heart in Winter (Un caeur en hiver) won the César Award for Best Director and Best Supporting Actor; the Venice Film Festival FIPRESCI Prize; the Venice Film Festival, Silver Lion Award; the London Critics Circle Film Awards, Foreign Language Film of the Year; the European Film Awards, Best Actor Award; and the French Syndicate of Cinema Critics, Best Film Award.

G. Merritt
October 6, 2007

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