(The Green Ray / Summer), 1986.
Dir. by Eric Rohmer
Released in 1986, as part of Rohmer’s “Comedies and Proverbs” collection of films, “Le Rayon Vert” follows a summer vacation of Delphine (Marie Rivière), a Parisian who has lost her sense of direction in the world. It is by no means a completely original idea, and the plot is neither advanced, nor on its face interesting, yet the manner in which Rohmer and Rivière sculpt Delphine’s character creates a beautiful and relatable depiction of that terrible feeling of non-belonging.
The film opens with her receiving a phone call from her fiance, Jean-Pierre, who breaks off the engagement. She feels that it is terribly mean to do so only a couple of weeks before their summer vacation. Now, Delphine must find another person to accompany her on vacation, but cannot find anyone who will do so. Her friends nosily inquire why she cannot go on her own, to which she simply replies that she does not want to. They taunt her for being unwilling to meet new people, and she breaks down – not as much due to the taunting of her friends, but the overwhelming weight of her life. This interaction repeats itself in various manners throughout the film. When she finally agrees to vacation with the family of one of her friends, she is badgered for her decision to not eat meat.
After leaving this group due to her inability to connect with them, she travels to the beach. Here she meets a Swedish woman and the two hit it off, despite their fundamental differences. The Swedish woman is Delphine’s antithesis: she loves vacationing alone, flirting with boys, going to bars with them, sunbathing topless. Delphine simply cannot relate, yet she spends the day with her, unable to connect with anyone else. This superficial connection is short-lived, and their differences become apparent when two men attempt to flirt with them. Delphine becomes sickened by the cheesy lines the men use and runs away from the others. When chased down by one of the men, she again replies that she does not want to do anything with them, and thus she won’t.
Here lies the basis of the film, Delphine isn’t an extraordinary individual, she simply doesn’t fit in. She is repeatedly forced to defend her actions to people who cannot relate to her, and seem unable to accept that she simply views a topic differently from them. As such, she is completely human as a character, and the otherwise boring and normal happenings of her life become intimately interesting for the regarder.
The film’s final act involves the titular “Green Ray.” Before meeting her Swedish friend, Delphine overhears a group of elderly friends discussing Jules Verne’s “The Green Ray” (on which the film is based). The ray is seen at the last moment after the sun sets, as the light refracts due to the atmosphere. One of the friends says that the phenomenon is extremely rare, and can clear one’s thoughts if they witness it. While this conversation is conducted, Rohmer follows the sunset, which notably does not include the Green Ray. At this moment, Rohmer ties Delphine’s hope to the witnessing of the Green Ray, and although it seems momentarily hopeless, one prays it will be revisited.
While waiting for a train to leave the beach at Biarritz, Delphine meets a man, Jacques (Vincent Gauthier). The man regards her differently than the others, asks her about the book she is reading (The Idiot by Dostoyevsky), and is engaged with her. They then decide to skip the train ride, walk together, and go up to a cliff to watch the sunset. Jacques asks Delphine to stay with him when she can. She refuses to answer, as she directs her attention to the sunset. The Green Ray flashes before their eyes and she exclaims, “Oui!”
Although this encounter follows a traditional romantic arc, Delphine’s emotional reaction to his kindness outshines the simplicity of the plot. The Green Ray gives her the hope she so desperately desired, allowing herself to believe Jacques is not too good to be true.
In addition to the already developed character of Delphine, much of the dialogue in the film was improvised, and the direction of the conversations led by Rivière (this being why she is credited as a writer for the film). It reinforces her spontaneity, the real feelings and misgivings she has, and adds to the tension she feels with those around her.
“Le Rayon Vert” provides the viewer with a striking depiction of a character whom almost anyone has felt like during their lifetime. Its various locations and soft colors create a beautiful backdrop to the ordinary events of Delphine’s life, never leaving the viewer’s eyes bored. If you have already seen your Green Ray, the film reinforces your feeling of triumph, and if you are still waiting, it instills you with the hope that you will soon view your own.
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