‘Embryonic’: lost novel by French film-maker Éric Rohmer is republished

A long-lost novel by renowned French filmmaker Éric Rohmer, titled Élisabeth, has been republished after nearly eight decades since its initial release. The book, written under the pseudonym Gilbert Cordier during World War II, offers a glimpse into the early creative instincts of the director known for works such as Claire’s Knee and My Night at Maud’s. The novel, translated into English by Aaron Kerner, has received widespread acclaim and is now considered a foundational text in understanding Rohmer's artistic evolution. Maurice Schérer, who later became known as Éric Rohmer, penned Élisabeth in 1940 when he was just 24 years old. Set in pre-war France, the novel explores themes of youthful love, complex relationships, and the social dynamics of small towns. Schérer used the pen name Gilbert Cordier to avoid bringing shame upon his Catholic family, though the novel itself did not generate much attention upon its initial publication. Despite its lack of immediate success, the book is now being recognized as a precursor to Rohmer’s cinematic achievements. The novel was written during a period when Rohmer was living in Nazi-occupied Paris and working as a freelance journalist. After Élisabeth failed to gain traction, he shifted his focus away from literature and towards film criticism before eventually transitioning into filmmaking. This move marked the beginning of his career as a key figure in the French New Wave movement alongside directors like Claude Chabrol, Jean-Luc Godard, and François Truffaut. According to novelist and longtime Rohmer admirer André Aciman, who contributed the foreword to the new edition, Élisabeth contains many of the thematic elements that would later define Rohmer's films. While the narrative might appear simplistic compared to his later works, it lays the groundwork for the nuanced exploration of human behavior and relationships that characterize his cinema. Critics have noted that Rohmer’s approach to filmmaking emphasized spontaneity and minimal direction. Adrian Martin, an expert on New Wave cinema, explained that Rohmer often worked with small crews and preferred to capture genuine performances rather than relying on extensive rehearsals or multiple takes. This method allowed his films to maintain a sense of authenticity and immediacy. Despite his influence on cinema, Rohmer maintained a private life, often obscuring details about his personal history. He frequently changed the details of his birthplace and name, keeping his professional endeavors hidden from his family. His mother, in particular, was unaware of his career in film, believing him to be a schoolteacher. This secrecy was partly due to societal perceptions of filmmaking at the time, which were viewed less favorably than traditional professions. The republication of Élisabeth comes 16 years after Rohmer’s death and marks a renewed interest in his early works. Scholars and critics alike are examining how his literary beginnings influenced his cinematic output. As the book gains recognition, it provides valuable insight into the formative years of a filmmaker whose legacy continues to shape contemporary cinema.