A peculiar but striking little film, reuniting Daniel Auteuil and Emmanuelle Beart (after their "Manon of the Spring" triumph), "Un Couer en Hiver" (which, translated, is "A Heart In Winter"), is a thoughtful, somewhat bleak and decidedly uncharacteristic romance - for the French and for movies in general.
Auteuil plays Stephane, a violinmaker who has internalized his life, and we see his meticulous handiwork in great - but never boring - detail. A failed musician but a master at his craft, Stephane's life revolves so much around his work that he lives in his shop, keeps tabs on the musicians whose instruments he has built or repaired and even sits in on rehearsals and recording sessions.Beart plays Camille, an alluring, beautiful and talented concert violinist whose career is on the rise. She is preparing for an important recording session and has just begun a relationship with Stephane's business partner, Maxime (Andre Dussollier).
Stephane meets her when he repairs her violin, and at first he doesn't seem to take too much notice of her . . . nor she of him. But after a time, it becomes apparent that she is reluctantly drawn to him, and as cold and distant as he is, Stephane is starting to feel something for her, as well.
As time passes, Stephane encourages Camille's feelings but does so with great subtlety, manipulating without ever overtly seducing. It's enough that he begins showing up whenever Maxime is away, takes her to dinner and smiles while remaining politely removed.
For some time it is not clear just why Stephane cannot - or will not - open up. He quietly brags to his friend and confidant, a female bookstore owner, about leading Camille on. But questions remain unanswered. Is he trying to get back at Maxime for some reason? Is he just a manipulator without a heart who, as he says at one point, does not believe in love? Or is he genuinely attracted to Camille but simply so cloistered in his own existence that he's afraid to give it a try?
These questions are explored in a matter-of-fact narrative, lyrically directed by Claude Sautet and punctuated by complex, beautifully realized Ravel sonatas, performed by Jean-Jacques Kantorow on the soundtrack and perfectly mimicked by Beart.
Some audiences may find all of this overly stolid or dull. This is not a movie that will convert anyone to subtitled fare.
But if you can get into the film's rhythms, there are some intriguing notions addressed here that are quite unusual - from self-destructive tendencies to tragically missed opportunities. And the performances by Auteuil - and especially Beart - are excellent.
"Un Coeur en Hiver" is not rated but would probably get a PG for language and implied sexuality, along with some mild violence.
- Chris Hicks