Les Dames du Bois de Boulogne

Based on the novelette Jacques le fataliste by Denis Diderot, Les dames du Bois de Boulogne (The Ladies of the Bois du Boulogne) is the story of a society lady who tries to create a scandalous affair between her former lover and a prostitute. Directed by Robert Bresson and screenplay by Bresson and Jean Cocteau, the film is a revenge story of sorts that has a woman trying to trick her lover by unknowingly get into an affair with a prostitute to destroy his social status. Starring Paul Bernard, Maria Casares, Elina Labourdette, Lucienne Bogaert, and Jean Marchant. Les dames du Bois de Boulogne is a rich yet riveting film from Robert Bresson.

A socialite is spurned by her lover as their relationship starts to cool prompting her to ruin him by setting him up with another woman unaware that she’s a prostitute. It’s a film with a simple premise as it play into a woman scheming her former lover by ensuring that he becomes ruined in his prospects to find a relationship that could fulfill him. The film’s screenplay by Robert Bresson and Jean Cocteau with the latter providing the dialogue doesn’t just explore the ideas of revenge but also those who become involved in this scheme who cope with the implications of hurting someone in this act of revenge. Helene (Maria Casares) is a woman that expects to have everyone fall in line with her while also having the freedom to spend time with other men. For Jean (Paul Bernard), he is devoted to her but admits that their love for each other isn’t what it used to be.

Feeling hurt, Helene wants to get back at Jean though remaining his friend yet she notices the cabaret dancer Agnes (Elina Labourdette) who works to support herself and her mother Madame D. (Lucienne Bogaret) as the latter knows Helene. Agnes had aspired to be a ballerina but struggles until Helene offers her and her mother a job where Agnes has to seduce Jean where Helene would pay off their debts. Agnes agrees to do the job as she isn’t impressed by Jean at first yet finds his determination to woo her fascinating where the two begin something much deeper where Agnes decides to not go with Helene’s plans only to deal with the financial implications of what will happen to her.

Bresson’s direction doesn’t emphasize a lot on any kind of style rather than some long shots to play into the drama. Still, Bresson would create some intoxicating compositions in some of the locations in and around Paris that play into the world of high society with the waterfall of Bois de Boulogne as its centerpiece is where all four main characters meet in one entire scene. It is presented in a wide and medium shot as much of the scenes of the characters interacting is used mainly in the latter setting to play into the drama as well as this growing romance between Jean and Agnes. Bresson would keep the drama low-key while playing into this air of intrigue and suspense in how Helene is trying to create chaos with Jean unaware of what is happening to him though he never thought he did anything wrong to Helene. Bresson wouldn’t use a lot of close-ups in order to play into the emotion of the characters as it adds to the intrigue which would climax with a key event for everyone involved. Overall, Bresson crafts a rapturous yet haunting film about a woman scheming to ruin her ex-lover’s life with the help of a prostitute.

Cinematographer Philippe Agostini does excellent work with the film’s black-and-white photography as its usage of lighting for many of the interior scenes as well as for the scenes set at night. Editor Jean Feyte does terrific work with the editing as it has a few rhythmic cuts for some of the drama as much of it is straightforward with the exception of transitional fade-outs. Production designer Max Douy, plus set decorators James Allan and Robert Clavel, does amazing work with the interiors of Helene’s posh apartment as well the small apartment that Agnes and her mother live in. The sound work of Robert Ivonnet and Rene Louge is superb for its natural approach to sound in making sure objects sound sparse without embellishing it. The film’s music by Jean-Jacques Grunenwald is wonderful for its orchestral score that is mainly driven by lush strings that play into the romance and drama.

The film’s fantastic cast include a couple of notable small roles from Yvette Etievant as Helene’s chambermaid and Jean Machant as Helene’s date in the film’s opening scene in Jacques. Lucienne Bogaert is excellent as Madame D. as Agnes’ mother who has a history with Helene as she takes Helene’s offer as a way to cover her debts only to become troubled by Agnes’ emotional state. Paul Bernard is brilliant as Jean as Helene’s former lover who feels like he hasn’t done enough to please Helene where he meets Agnes and falls for her though ponders what does she do unaware of being played.

Elina Labourdette is amazing as Agnes as a cabaret dancer/prostitute dealing with her financial strife as she takes Helene’s offer to seduce and woo Jean only to get to fall for him as she begins to have second thoughts about the job she’s being asked to do. Finally, there’s Maria Casares in an incredible performance as Helene as a socialite who feels spurned by her former lover as she seeks revenge while playing a game of manipulation on both Jean and Agnes that would cause a lot of trouble with Helene coming out on top.

Les dames du Bois de Boulogne is a phenomenal film from Robert Bresson. Featuring a great cast, a riveting story of revenge and manipulation, gorgeous visuals, and a sumptuous film score. It’s a compelling yet rich film that play into the awful deeds that some will do to hurt others as it’s one of Bresson’s early gems. In the end, Les dames du Bois de Boulogne is a sensational film from Robert Bresson.

Robert Bresson Films: (Les affairs publique) – (Les Anges du peche) – Diary of a Country Priest - A Man Escaped - Pickpocket - The Trial of Joan of Arc - Au Hasard Balthazar - Mouchette - (A Gentle Woman) – (Four Nights of a Dreamer) – (Lancelot du Lac) – (The Devil Probably) – L'Argent

© thevoid99 2018

2018 Blind Spot Series: L'Argent

Based on the novella The Forged Coupon by Leo Tolstoy, L’Argent (Money) is the story of a counterfeit bill that would shape the lives of the various individuals it would encounter. Written for the screen and directed by Robert Bresson, the film is an exploration of money and the ills that it can bring into humanity all through a forged bill made as a prank that goes horribly wrong. Starring Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Van den Elsen, Didier Baussy, Beatrice Tabourin, and Marc Ernest Fourneau. L’Argent is a rapturous yet harrowing film from Robert Bresson.

What happens when a simple prank over a forged bill would lead to trouble and affect the life of a truck driver and a photo shop’s assistant? That is pretty much the plot of the film as it play into a few individuals whose lives are drastically changed all because a couple of kids created a forged bill in the hopes for one of them to pay someone back and not think about the consequences. Robert Bresson’s screenplay begins with a young student named Norbert (Marc Ernest Fourneau) asking his parents for an advance of his allowance as he owes money to another student. His parents politely refuse as he turns to a classmate who had created a counterfeit 500 franc that they used to buy a picture frame at a photo shop and things suddenly go wrong. Notably when a truck driver named Yvon (Christian Patey) has unknowingly been given the forged bill where he would try to pay a waiter at a café as the waiter accuses him of being the counterfeiter.

It would lead to a chain of events for Yvon whose life would go into ruin while a photo shop’s assistant in Lucien (Vincent Risterucci) would lie on court to protect his boss as he is later consumed with guilt as he goes into a world of crime. It all plays into the effects of this forged franc that would do where these two young men go into different directions as it all plays into the need for money either as a way to live for or to be used as some form of idealism. At the same time, there’s an element of dehumanization that occurs with the effect of this forged franc where both Yvon and Lucien deal with a sense of uncertainty as well as not know what they’re doing.

Bresson’s direction is largely minimalistic in terms of the compositions he creates as there’s not much camera movement throughout the film in favor of creating precise compositions that play into this disconnect between man and self. Shot partially in Paris, the film doesn’t dwell into famous locations in order to focus on a few locations in the city as well as how this forged bill would create chaos in a small location where the photo shop is. There’s a few wide shots in Bresson’s direction yet he would largely favor medium shots to get a look of the characters and their environment as well as the fact that he would position a camera at a door or a window where there’s so much that is happening through a glass window or a glass door. The compositions that Bresson creates would play into not just these elements of suspense but also in the drama as Bresson would have an actor in a frame to play up the sense of dehumanization. Most notably the sequence where Yvon is in prison as he would be put in solitary confinement as he refuses to read letters from his wife Elise (Caroline Lang) as it would add to this anguish and loss for Yvon who would descend into the darkest aspects of humanity.

Yet, Bresson would also show elements of faith where a prisoner would pray for Yvon in one scene as well as a scene late in the film where Yvon stays at the home of an old woman (Sylvie Van den Elsen) who believes that people can be saved no matter what devious action or sin they committed. It would play into this sense of conflict of Yvon as it relates to his humanity but also the allure of something as toxic as money. Even the film’s ending is Bresson at his most realistic as it shows not just the consequences of one’s action but also for the horrific motivation that is money whether it’s real or a forgery. Overall, Bresson crafts a mesmerizing yet unsettling film about the impact of a forged franc that would drastically change the lives of a few individuals.

Cinematographers Pasqualino De Santis and Emmanuel Machuel do brilliant work with the film’s colorful cinematography with the usage of natural lighting for some of the daytime interior/exterior scenes including the usage of low-key lights for the scenes at night. Editor Jean-Francois Naudon does excellent work with the editing as it is largely straightforward to play into the drama and bit of suspense without anything stylized other than a few rhythmic cuts. Production designer Pierre Guffroy does fantastic work with the look of the photo shop as well as the prison that Yvon would go to and some of the places he would encounter.

Costume designer Monique Dury does nice work with the costumes as it is largely casual with the exception of Norbert, Norbert’s parents, and the people who run the photo shop as they sort of wear posh-like clothing. Sound mixer Jacques Maumont does incredible work with the film’s sound in capturing the natural locations of what goes on in and out of a room as well as what happens in the streets where it is one of the film’s major highlights.

The film’s wonderful cast include some notable small roles from Andre and Claude Cler as Norbert’s parents, Michel Briguet as the old woman’s father, Didier Baussy as the photo shop manager, Bruno Lapeyre as Norbert’s friend Martial who created the forged franc, Beatrice Tabourin as the photo shop clerk, and Caroline Lang as Yvon’s wife Elise who copes with not just his incarceration but also something much bigger that adds to Yvon’s descent. Marc Ernest Fourneau is terrific as Norbert as the young student who would set the chain of events to occur unaware of what he’s done as it’s all about trying to pay back some money he owes and creating a prank that went horribly wrong.

Sylvie Van den Elsen is superb as the old lady whom Yvon meets late in the film as a woman who would take Yvon into her home as she sees how troubled he is but reminds him that he can redeem himself. Vincent Risterucci is excellent as Lucien as a photo shop assistant who would lie for his boss in order to get himself and his boss out of trouble only to go into a world of crime as a way to cope with his guilt. Finally, there’s Christian Patey in a brilliant performance as Yvon Targe as a truck driver whose encounter with a forged franc would cause a chain of events in his life to shatter from being accused of creating a forged franc to other crimes as he would descend into darkness as it is a chilling performance from Patey.

The 2017 Region 1/Region A DVD/Blu-Ray from the Criterion Collection presents the film in a newly restored 4K digital transfer with Dolby Digital Mono (uncompressed in its Blu-Ray release) in French with English subtitles in the film’s original 1:66:1 aspect ratio. The special features include the film’s original theatrical trailer and two major featurettes. The first is a 31-minute press conference from the 1983 Cannes Film Festival in which Bresson and actors from the film talk answer questions to critics and journalists. The video shows Bresson being cagey in some of his answers where he would say things that he knows that can’t be explained as he also admits that he’s not a genius. He would also criticize certain things about cinema as he’s aware that his films aren’t commercial and he has no intentions in making them commercial. He also talks about his own views on humanity and many of the themes in the film as it is a compelling press conference that shows Bresson in his element with a couple of the actors getting a few words in as it’s really more about Bresson who really doesn’t care what the audience thinks of the film as it wasn’t well-received by the audience who booed the film in its premiere.

The 51-minute video essay L’Argent, A to Z by film scholar James Quandt who narrates the essay. The video essay talks about the film the letters A to Z in 26 parts to explain the film’s meaning, its influence, and Bresson himself. Quandt talks about the many motifs that Bresson would put into the film but also the evolution of his trademarks as it would culminate with so much in his final film as would his view of the world which has him become more pessimistic in relation to some of the things that was happening in France at the time. Bresson’s influences are mentioned as it ranged from philosophers, artists, and literary figures with Dostoyevsky being the most notable yet it is Leo Tolstoy’s novella that would inspire him to create what would be his final film. It’s a fascinating video essay that explores the many attributes about the film and why it remains compelling more than 30 years since its release.

The DVD/Blu-ray booklet include an essay by film critic Adrian Martin entitled The Weight of the World about the film and Bresson’s methods into the art of filmmaking. Martin talks about many of the film’s themes and how it relates to a lot of Bresson’s body of work in film. It also dwell into some of the spiritual aspects of the film in its exploration of redemption and temptation as it relates to the character of Yvon. Martin says that this film, of all of Bresson’s films, is his darkest and most vicious in terms of the fates of the protagonists as well as the situations that happen and its setting. It all play into the way Bresson sees things as he is aware of how cruel the world can be but also sees that there can be a sense of hope no matter how dark the world is.

The interview entitled I’m Not Looking for a Description but for a Vision of Things in which Robert Bresson discusses the film with Michel Clement in 1983 that was later published in full for the magazine Positif in 1996. Bresson talks about some of his filmmaking methods and theories as well as his approach to storytelling as it relates to the film. Notably his approach to sound and sound design as a way to create an atmosphere for the world that the characters are in. He also discusses his literary influences and the ideas he would get for the film as well as a brief discussion about a film project that never came to fruition that was to revolve around the genesis of Earth. It’s a riveting interview that explores many of Bresson’s views on films and storytelling as well as reasons why never uses actors in order to get a sense of realism that he wanted.

L’Argent is a magnificent film from Robert Bresson. Featuring a great cast, eerie visuals, a low-key yet simple presentation, and evocative takes on themes of inhumanity and greed. It’s a film that explores what a simple forged bill can do in creating chaos and drastically change the lives of a few individuals to the point that they lose aspects of themselves as well as raise questions about redemption. In the end, L’Argent is an outstanding film from Robert Bresson.

Robert Bresson Films: (Les affairs publique) – (Les Anges du peche) – Les Dames du Bois de Boulogne – Diary of a Country Priest - A Man Escaped - Pickpocket - The Trial of Joan of Arc - Au Hasard Balthazar - Mouchette - (A Gentle Woman) – (Four Nights of a Dreamer) – (Lancelot du Lac) – (The Devil Probably)

© thevoid99 2018

Au Hasard Balthazar

Written and directed by Robert Bresson, Au Hasard Balthazar (Balthazar, at Random) is the story about the paralleling lives of a young girl and her donkey following their heartbreaking separation where they both suffer cruelty. The film explores the relationship between this shy girl and her donkey and the separation that would destroy them both. Starring Anne Wiazemsky and Francois Lafarge. Au Hasard Balthazar is a heart wrenching film from Robert Bresson.

The film is about the life of a donkey named Balthazar who would be in the hands of many owners where most of them would treat the donkey with great cruelty with the exception of a young girl named Marie (Anne Wiazemsky) who would also endure the same kind of abuse from the people in her small town. The film doesn’t have much of a plot only that it takes place in the span of many years from Balthazar’s early days with Marie whose father (Philippe Asselin) has been taking care of the farm for a rich family only to sue them for money. When that goes wrong, Balthazar is later handed to a series of owners where some treat the donkey cruelly that includes a young thug named Gerard (Francois Lafarge) who would harass Marie into an abusive relationship. All of it would play into the way humanity deals with animals and young women where it would be Balthazar who would maintain some kind of dignity through the ordeal he goes through.

The direction of Robert Bresson is simple and to the point in the way he explores the life of a donkey and the connection he has with this shy young woman who loved the donkey since she was a girl. Bresson’s approach to naturalism has him going for something that is astonishing in the way a donkey is being treated as he is treated with care at times but also in the worst ways that includes a scene where Gerard lights a paper on Balthazar’s tale to get him to move. Much of the compositions has Bresson use wide and medium shots to play into the world that Balthazar is in as he is walking in towns where it he has to deal with cars and motorbikes as he wanders on the road. There’s also moments where Balthazar is being treated like an animal where he wanders around to a circus where there’s these amazing close-ups of circus animals in cages looking at Balthazar.

The close-ups on Balthazar are some of the most gorgeous yet somber images captured on film where it’s clear that this is more than just some donkey but a character with a soul as the donkey that plays Balthazar deserves high commendation for its work. Even in his interaction with the actors in the film including the character of Marie whose story is also just as heartbreaking as Bresson brings a very low-key approach to the melodrama to showcase her own journey. Notably as she longs to return to her childhood friend Jacques (Walter Green) despite all of the abuse she’s been through with Gerard and others as she also has to deal with her father whose pride had been his undoing as he is also responsible for what Balthazar endures. Overall, Bresson crafts a very touching yet powerful drama about the cruelty of humanity towards a saintly donkey.

Cinematographer Ghislain Cloquet does excellent work with the film‘s black-and-white photography where it‘s very understated for much of its daytime scenes while go for a bits of style in the nighttime scenes. Editor Raymond Lamy does brilliant work with the editing as it‘s quite straightforward with some jump-cuts and some stylistic cutting to play into the film‘s drama. Production designer Philippe Dussart does terrific with the set pieces from the home that Marie and her family lives in to the bakery that Gerard works at. The sound work of Antoine Archimbaud and Jacques Carrere is amazing for the intimacy and naturalism that is presented for the film including the braying of Balthazar. The film’s music largely consists of piano pieces by Franz Schubert that is performed by Jean-Joel Barbier as it plays to much of the film’s melodrama while the rest of the music soundtrack includes jazz pieces by Jean Weiner and some pop songs that are played from Gerard‘s radio.

The film’s cast includes some incredible small performances from Jean Remignard as the notary who deals with Marie’s father’s case, Philippe Asselin as Marie’s stubborn father, Nathalie Joyaut as Marie’s kindly mother, Francois Sullerot and Marie-Claire Fremont in their respective roles as the baker and his wife where the latter is suspicious towards Gerard, and Walter Green as Marie’s childhood friend Jacques who tries to settle the matter between his family and Marie’s father. Pierre Klossowski is terrific as a merchant Marie meets late in the film as he would become one of Balthazar’s final owners. Jean-Claude Guilbert is excellent as the drunken farmer Arnold who would gain Balthazar as he treats the donkey with some contempt while also being caring at times as he’s this melancholic man lost in the modern world.

Francois Lafarge is superb as the cruel Gerard as this youthful thug who uses Balthazar for his own schemes while treating him and Marie with such disdain. Finally, there’s Anne Wiazemsky as Marie as a shy young woman who is heartbroken by her separation from Balthazar as she becomes lost in her despair where she is abused and mistreated while seeking to find some good in the world.

Au Hasard Balthazar is a tremendous yet harrowing film from Robert Bresson. Featuring a mesmerizing performance from a donkey as well as a somber tale about a donkey’s life where he endures cruelty. It’s a film that is definitely powerful while proving that animals do have a soul when it’s treated with love and care. In the end, Au Hasard Balthazar is a magnificent film from Robert Bresson.

Robert Bresson Films: (Les affairs publique) - (Les Anges du peche) - Les Dames du Bois de Boulogne - Diary of a Country Priest - A Man Escaped - Pickpocket - The Trial of Joan of Arc - Mouchette - (A Gentle Woman) - (Four Nights of a Dreamer) - (Lancelot du Lac) - (The Devil Probably) - L’Argent

© thevoid99 2013

Pickpocket

Written and directed by Robert Bresson, Pickpocket is the story about a young pickpocket who surrounds himself in various locations in Paris as he starts to feel guilty as he begins to fear that his luck will run out. The film is an exploration into a young man’s struggle to survive as well as trying to find ways to redeem himself. Starring Martin LaSalle, Marika Green, Pierre Leymarie, Dolly Scal, and Jean Pelegri. Pickpocket is a mesmerizing yet engrossing drama from Robert Bresson.

The film is essentially the story of a young pickpocket named Michel (Martin LaSalle) who is conflicted about stealing as he’s afraid of being caught. With the help of other pickpockets he meets, he eventually masters his craft as he joins them in stealing where they would split the take. Still, Michel is a young man who is unsure about what he’s doing as his friend Jacques (Pierre Leymarie) is suspicious as is a police investigator (Jean Pelegri) who knows he can catch him but wants Michel to turn himself in. Adding to these complications is a young woman named Jeanne (Marika Green) who has been taking care of his mother (Dolly Scal) who is very ill. Michel finds himself falling for Jeanne but become more confused about what he’s doing as he tries to redeem himself while dealing with other temptations.

Robert Bresson’s screenplay doesn’t carry a lot of plot as it’s more reflective in its narrative told largely from Michel’s perspective as he’s narrating the film throughout where he’s writing a journal about his thefts. In this narration, Michel reveals the sense of fear he’s feeling about getting caught and the guilt that he’s dealing with in stealing. Yet, there’s also a side of him that feels content for the fact that he’s mastering his craft and finding some sort of satisfaction in what he’s doing. This presentation of a protagonist is very unique for the fact that he’s very flawed while seemingly unsure about seeing his ailing mother as he starts to fall for a young woman who is dating a friend of his. It adds to his development as he is someone very secretive and not willing to divulge very much as he gets the attention of a police investigator who is more interested in seeing this young man find redemption than get himself into a lot of trouble.

Bresson’s direction is very intimate in its presentation where he keeps things very simple in terms of shooting on location and not creating a lot of big moments. Bresson utilizes the frame to reveal very little in big settings such as a horse racetrack, a diner, and other locations but always maintain that intimacy in order to focus largely on Michel’s exploits. Notably in his pickpocket schemes where Bresson maintains an intensity into the choreography into how an object is stolen and then passed on from one person to another in an elaborate scheme that is just hypnotic to watch. Bresson also focuses largely on the hands to reveal how a pickpocket steals where he keeps his camera close enough to reveal the action.

The direction is also suspenseful in the way Bresson presents every moment in how Michel tries to steal where he also reveals a moment of hesitation that occurs. Bresson takes his time to reveal Michel’s conflict and the moment he could act in his desperation or just walk away. While whatever the outcome maybe, what is revealed afterwards is what Michel is feeling where Bresson always have the camera on him or the person he had just stolen from. The film’s third act reveals a lot of what Michel has gone through and the desperation he takes just to help a friend. Yet, its outcome isn’t surprising but Michel seems aware of his actions and know what he’s facing. In the end, Bresson creates a captivating yet touching portrait of a young man lost in his own world and trying to find some semblance of hope.

Cinematographer Leonce-Henri Burel does excellent work with the black-and-white photography to maintain that intimacy in many of the film‘s daytime interior and exterior settings with more stylish lights for some of its nighttime scenes. Editor Raymond Lamy does brilliant work with the editing to create some methodical cuts to play with the film‘s suspense along with more slower cuts for its dramatic moments. Production designer Pierre Charbonnier does nice work with the film’s few set pieces such as the apartment that Michel lives in to the apartment that his mother lives in.

The film’s sound by Antoine Archimbaud is superb for the atmosphere it carries in many of the film‘s on-location scenes to capture the chaos that is happening along with more intimate moments involving Michel. The film’s music consists of pieces from the opera Atys by Jean-Baptiste Lully that appears in few moments of the film to help underplay the drama that is unfolding for Michel.

The film’s small ensemble cast is terrific as it features some notable small performances as Pierre Etaix and Henri Kassagi as Michel’s accomplices and Dolly Scal as Michel’s ailing mother. Pierre Leymarie is excellent as Michel’s friend Jacques who helps Michel to try and find real jobs while questioning him about what he’s doing. Jean Pelegri is superb as the sympathetic police investigator who is aware about Michel’s antics, despite little evidence, as he tries to steer Michel into the right path. Marika Green is wonderful as Jeanne who is baffled by Michel’s quiet persona as well as the fact that she’s the only other person who can turn him away from a life of thieving. Finally, there’s Martin LaSalle as Michel where LaSalle gives a great performance as a conflicted young man dealing with his schemes as well as the fear of getting caught as it’s a mesmerizing performance from LaSalle.

Pickpocket is a marvelous film from Robert Bresson that explores the world of theft and the conflicts that concerts a young thief. The film is very compelling character study that explore a young man reflecting on his actions and the fears that he has in being a thief. It’s also a very intimate story that revels in the way youth deals with a lack of direction as well as uncertainty. In the end, Pickpocket is an extraordinary film from Robert Bresson.

Robert Bresson: (Les affaires publique) - (Les Agnes du peche) - Les Dames du Bois de Boulogne - Diary of a Country Priest - A Man Escaped - The Trial of Joan of Arc - Au Hasard Balthazar - Mouchette - (A Gentle Woman) - (Four Nights a Dreamer) - (Lancelot du Lac) - (The Devil Probably) - L’Argent

© thevoid99 2012

A Man Escaped

Based on the memoirs of Andre Devigny, Un condamne a mort s’est ou Le vent souffle ou il veut (A Man Escaped or: The Wind Bloweth Where It Listeth) is the story of a World War II POW trying to escape a treacherous prison under the role of the Nazis. Written and directed by Robert Bresson, the film is an exploration of a man trying to create the ultimate escape during his stay in prison. Starring Francois Leterrier, Charles Le Clainche, Maurice Beerblock, and Roland Monond. Un condamne a mort s’est ou Le vent souffle ou il veut is a chilling and suspenseful drama from Robert Bresson.

After being captured for his work with the French Resistance, Fontaine (Francois Leterrier) is sent to prison where tried to escape during a ride to the prison. Having to be put into handcuffs into a prison cell, Fontaine tries to deal with his situation as the only contact he encounters is a man he doesn’t see at all in a cell next to him. He also manages to communicate with an old man named Terry (Roger Treherne) who he sees walking at the prison courtyard where he secretly receives things. After being moved to a new cell a few floors above and not wear handcuffs, Fontaine decides to make plans to escape. While talking to fellow prisoners in a pastor (Roland Monond), a man named Hebrard (Jean Paul Delhumeau), and an elderly neighbor named Blanchet (Maurice Beerblock). Fontaine talks with them to pass the time while finding ways to flee his cell.

After a new prisoner named Orsini (Jacques Ertaud) arrives as he lives in a cell across from Fontaine’s, he decides to make his own plans to escape where he fails in his first attempt. After talking with Orsini on what to do, Fontaine realizes he had to do more than just make rope and break the limbs from his prison door. When he learns of the fate for his crimes, Fontaine decides to focus more of his time trying to get out as he gains a new cellmate in a 16-year old boy named Francois Jost (Charles Le Clainche). Fontaine becomes suspicious about Jost’s presence in his cell as he tries to wait for the moment to escape. Yet, he becomes unsure whether to trust Jost as he would make a daring move for freedom.

The film is essentially about a French Resistance fighter trying to find his way out of a POW prison in World War II as he also tries to deal with his surroundings as a few prisoners he meets either die or transferred to another prison. That’s pretty much the summary of the film as writer/director Robert Bresson goes into great detail of how a man slowly tries to plan his escape while finding ways to make his escape without getting caught. A lot of it is told in a voice-over narration where the character of Fontaine tries to think about what he’s doing as well as reflecting on everything that’s been happening to him. Bresson’s screenplay is loosely structured so it would allow the Fontaine character to slowly figure out how to create his escape where he would gain a few objects, over the course of his stay, to use in his escape.

The script also allows the character of Fontaine to make interactions with the few people he meets in prison where the elderly neighbor he gets in the film’s second act is a man that starts off as being very silent until Fontaine helps him during the daily cleaning where he finally talks. Another prisoner Fontaine gets to know is a man named Orsini whose wife had betrayed him to the authorities as he would make attempted escapes for Fontaine to observe on what not to do. Then there’s Jost, this young kid who had joined the German army as he becomes this wildcard that Fontaine doesn’t want and is unsure about him. It becomes an issue of trust for Fontaine while there’s also pressure to succeed to bring hope to the other prisoners who all want out. What Bresson creates is a very engaging and brooding screenplay that plays into everything that happens in a POW prison in World War II Nazi-occupied France.

Bresson’s direction is truly mesmerizing in the way he creates an intimacy for the prison scenes to the suspense that he creates for the film’s climatic escape scene where Fontaine tries to make sure nothing goes wrong. While a lot of the shots presented in the film are quite simple, the mood that Bresson presents with these scenes is very low-key in its drama as it’s all about the planning and determination to escape. Notably as the conversations between characters during their moments to wash themselves are hushed so they wouldn’t draw attention while Bresson keeps the camera in tact on these very quiet conversations.

One of the key aspects to present the film as this very unconventional prison drama is an opening scene to establish what happened at the Montluc prison during World War II where it’s unveiled in a plaque. It adds to the dramatic states of what Fontaine is doing on whether or not he will be a number mentioned in the plaque about those who died. Notably as Bresson maintains an idea of repetition of what these prisoners do to pass the time as they all look at Fontaine for what might be doing. The film’s climatic prison break in is really among one of the most tense moments of the film because there could be a moment where things go wrong as it’s all told by Fontaine where Bresson doesn’t stray from showing the sense of anxiety and fear that goes on. Overall, Bresson creates a truly hypnotic film that plays to the terror of escape from the perspective of a very determined man.

Cinematographer Leonce-Henri Burel does excellent work with the film‘s black-and-white cinematography to set a mood for some of the film‘s interiors such as the different cells Fontaine live in to the climatic escape where the exterior lights help play to its suspense. Editor Raymond Lamy does fantastic work with the film‘s stylized editing to play up the suspense and drama with some rhythmic cuts and dissolves to help the film move at a methodical pace.

Production designer Pierre Charbonnier does superb work with the set pieces such as the cells that Fontaine lives in to the prison halls and courtyard that he and the other prisoners frequent. The sound work of Pierre-Andre Bertrand is terrific for setting the mood that is created in the intimate scenes at the cell as it’s all about sparse sound work. The film’s music that is played in the opening and closing credits is from Wolfgang Amadeus Mozart’s Great Mass in C minor to play up the drama that is to be displayed on film. 

The film’s cast is marvelous for the use of largely non-actors and unknowns that is assembled as it includes some standout performances from Jean Paul Delhumeau and Roland Monod as a couple of prisoners who root for Fontaine, Jacques Ertaud as the determined but un-prepared Orsini, Maurice Beerblock as the elderly cell neighbor Blanchet, and Roger Treherne as the kind prisoner named Terry that Fontaine meets. Charles Le Clainche is excellent as the young prisoner Jost who gets to know Fontaine though his association with the German army makes him a suspicious person in the prison. Finally, there’s Francois Leterrier in a phenomenal performance as Fontaine by exemplifying a very restrained yet charismatic performance as a man who is determined to leave but do it in a careful manner as it’s definitely the film’s major highlight.

Un condamne a mort s’est ou Le vent souffle ou il veut is an extraordinary prison drama from Robert Bresson. The film is definitely one of the most intriguing prison dramas created due to its suspense and the way an escape is set up in a more methodical manner. The film is also one of Bresson’s essential features in terms of its minimalist presentation and willingness to defy conventions to find realism in the story. In the end, Un condamne a mort s’est ou Le vent souffle ou il veut is a remarkable film from Robert Bresson.

Robert Bresson Films: (Les affairs publique) - (Les Anges du peche) - Les Dames du Bois de Boulogne - Diary of a Country Priest - Pickpocket - The Trial of Joan of Arc - Au Hasard Balthazar - Mouchette - (A Gentle Woman) - (Four Nights of a Dreamer) - (Lancelot du Lac) - (The Devil Probably) - L’Argent

© thevoid99 2012

The Trial of Joan of Arc

Written and directed by Robert Bresson, Proces de Jeanne d’Arc (The Trial of Joan of Arc) is the story of Joan of Arc’s trial that is based on many transcripts and notes about the events that would led to her death. The film is an examination into a woman being judged for her actions as she would face death. Starring Florence Delay and Jean-Claude Fourneau. Proces de Jeanne d’Arc is a mesmerizing film from Robert Bresson.

The film is essentially a dramatic re-interpretation of the trial of Joan of Arc (Florence Delay) as she is interrogated by many bishops and priests led by Bishop Cauchon (Jean-Claude Fourneau). In the course of the trial, Cauchon and his associates try to get Joan of Arc to do anything to abjure herself in any way or she faces death. Yet, she would often defy anything she had say as she doesn’t trust those who are judging her as even the ones who are at the trial believe that it’s a mockery since she has no one to defend her. With Joan of Arc even offered a way that would save her from burning at the stake where she does take an offer, she realizes that she would go against everything she had believed in which would lead to her death.

Robert Bresson’s screenplay doesn’t have a traditional structure since the story is based on notes and transcripts at the event where it is about this woman on trial for her actions where it becomes clear that she is going to die. Bresson doesn’t paint Joan of Arc as this woman who is considered iconic or something as he allows her to be human while the bishops who are judging her aren’t total villains. They would offer a chance to be spared an awful death but it’s the compromises that they offer her that would really impact the drama as she would realize that it would go against everything she stood for.

Bresson’s direction is sparse and intimate in the presentation that he creates as he is more concerned about what is going on in the trial. There’s not many camera movements throughout the film as Bresson is always having the camera on someone or something that is going on. Bresson’s framing is quite entrancing for the way he would show Joan in the trial as well as the way Cauchon is framed where it’s always from afar and shown from a diagonal position. Things get more tense inside Joan of Arc’s sell where the trial continues as it maintains that same position but also from the back where a few men are watching through a hole to see what is going on.

Bresson’s direction also maintains an air of suspense as it becomes clear that every compromise that Joan of Arc has been offered is raised as it’s quite evident on what is ahead. The dramatic stakes definitely intensify that leads the lone scene that is set outside of the castle which is the burning at the stake where it is the film’s climax. The way Bresson presents this climax is with a degree of startling imagery that revolves a lot around faith and how Joan of Arc presents herself to God. Overall, Bresson creates a truly captivating film on the final days of Joan of Arc.

Cinematographer Leonce-Henri Burel does excellent work with the black and white photography as it maintains a very straightforward look except for a few scenes in Joan of Arc‘s cell to display her state of mind as well as the evocative look in the film‘s climax. Editor Germaine Artus does terrific work with the editing to display methodical cuts for some of its dramas while using dissolves and fade-outs as transitions to help the story move at a brisk pace. Art director Pierre Charbonnier does brilliant work with the sparseness of the set pieces such as the trial room, the jail cell, and the public court where Joan of Arc is given one final chance to save herself.

Costume designer Lucilla Mussini does wonderful work with the costumes from the clothes that Joan of Arc wears to the uniforms of the bishops. Sound recorder Georges Girard does superb work with the sound to capture the tense atmosphere of the public trials with crowds speaking in the background to the more intimate setting at the jail cell. The film’s music by Francis Seyrig is amazing as it is mostly an eerie, cadence-drum driven score that only appears in the opening and closing moments of the film.

The casting largely consists of non-professional actors playing the roles of the bishops, priests, nurses, and guards. Yet, the standouts are its two principle leads that includes Jean-Claude Fourneau as the very judgmental Bishop Cauchon who leads the trial as he faces opposition from the few bishops who are at the trial. Then there’s Florence Delay as Joan of Arc as her performance is a major highlight for the restraint that she brings to the character as she rarely displays any kind of dramatic emotion as she maintains the sense of dignity that Joan of Arc carries.

Proces de Jeanne d’Arc is an exhilarating film from Robert Bresson that explores the trial of Joan of Arc. The film is truly an engaging film that doesn’t require lots of dramatic tropes or lots of back story. Instead, it’s a truly engrossing minimalist film that keeps things simple and is willing to examine how Joan of Arc maintained her defiance against an unfair justice system. In the end, Proces de Jeanne d’Arc is an incredibly rich film from Robert Bresson.

Robert Bresson Films: (Les affairs publique) - (Les Agnes du peche) - Les Dames du Bois de Boulogne - Diary of a Country Priest - A Man Escaped - Pickpocket - Au Hasard Balthazar - Mouchette - (A Gentle Woman) - (Four Nights of a Dreamer) - (Lancelot du Lac) - (The Devil Probably) - L’Argent

© thevoid99 2012

Diary of a Country Priest

Based on the novel by George Bernanos, Journal d’un cure` de campagne (Diary of a Country Priest) is the story of a young priest who arrives to a small French town as he deals with rejection from the local congregation. Written for the screen and directed by Robert Bresson, the film explores a young man’s faith being tested by this rejection as he tries to become part of this town. Starring Claude Laydu, Jean Riveyre, and Adrien Borel. Journal d’un cure` de campagne is a haunting yet heart-wrenching film from Robert Bresson.

A young un-named priest (Claude Laydu) arrives at the small town of Ambricourt to begin his first parish as its local priest. Hoping to do what he feels is his duty to God, the priest would encounter all sorts of trouble from his local congregation as they treat with him indifference. Turning to an older priest (Adrien Borel) from a nearby town for advice, the older priest tells him to take his time while noticing how ill this young man is looking. While he also tries to teach youngsters with a sense of disdain towards him, he notices a young woman named Chantal (Nicole Ladmiral), who is the daughter of the count (Jean Riveyre) and countess (Rachel Berendt), that has been coming to the church seeking answers. Struggling with his health and having doubts about his role following the death of a local doctor (Antoine Balpetre), the young priest would receives unsigned letters to leave town.

After meeting with Chantal who reveals her hatred towards her parents, the young priest talks to the countess over his concerns for Chantal leading to revelations from the countess about the loss of her late son. The young priest’s meeting with the countess would have a major impact on him as he’s treated with a more hostile reaction from locals including the count. The older priest tries to get answers from him as he’s concerned for the young man’s health that includes a diet of wine, bread, and fruit. Wanting to try and make an impact as the local priest, the young man still deals with his ailing health as well as Chantal’s troubled behavior. Finally having to leave town for health reasons, he faces more circumstances that would test his faith even more as he writes everything he’s dealing with in his journal.

What happens when a young priest is assigned to his first parish in a small town only to be met with a reaction that is unexpected while having his faith tested in the process? That’s pretty much a summary of what the film is about as writer/director Robert Bresson explores this young man trying to do his duty for God. While he arrives as a young man getting ready to his first parish as a priest, he becomes unprepared for what he’s facing while he also arrives looking physically ill. The screenplay serves as a way to test this young man’s faith by escalating the troubling circumstances and challenges he faces. Notably in the people he meets such as an experienced priest from another small town, a rich family with a very troubled daughter, and a mischievous student (Martine Lemaire).

While the story is quite drawn out to emphasize the long struggle and suffering this young priest is facing. It does play out a bit long at times making the pacing be sluggish in a few places. Yet, there are amazing scenes where Bresson has the young priest those who question his duty in some long but very intense scenes. The way Bresson writes the dialogue from these characters and their actions would have huge repercussions for the film’s protagonist as a lot of it is told from his perspective. Since the film would have scenes of the young priest telling his story on a journal with a reflective narration. It would reveal more layers of his confusion and growing sense of doubt that adds to the many strengths of the film.

Bresson’s direction is entrancing for the way he creates a presentation that is simple and to the point. From the way he opens the film where this young priest sees a young couple making out and the sign of the town that he arrives in. It’s a way to establish the new world that he’s about to embark in as he walks into town with a beret and his priest robe. It’s a very understated opening that would progress into a more simplified yet dramatic film that is filled with mesmerizing scenes such as the doctor’s funeral service where the young priest talks to the old priest about the way the doctor died that confuses him.

Told through the calm but distressing voice-over narration, Bresson would always have a camera on something the young priest is saying such as Chantal’s introduction and the intense revelation from Chantal’s mother over the idea of death. Bresson never lets a moment be wasted as it includes some startling moments in the third act where the young priest would feel the urge to rebel in the narration. Yet, Bresson always find a way for this young man to have some sort of moment about his faith that will leave a huge impression towards the end. Overall, Bresson creates a very powerful film about faith that pushes the idea of doubt in the mind of a young priest.

Cinematographer Leonce-Henri Burel does wonderful work with the film‘s black-and-white cinematography to set the mood for many of the film‘s interior scenes including the ones at night for its interior and exterior settings to emphasize the young priest‘s struggle. Editor Paulette Robert does excellent work with the editing by utilizing rhythmic cuts for the intensity of the drama along with stylized dissolves and fade-outs for the film‘s transitions. Art director Pierre Charbonnier and set decorator Robert Tulure do nice work with the set pieces such as the church that the young priest works at to the messy home that he stays in the for the film’s third act.

The sound work of Jean Rieul is terrific for the way it‘s naturally captured from the footsteps to the clanging of objects that is heard to maintain a sense of intimacy. The film’s score by Jean-Jacques Grunenwald is delightful for its serene yet dramatic orchestral score to play up the young priest’s struggle.

The film’s ensemble cast is brilliant as it includes notable small appearances from Bernard Hubrenne as a former priest in the third act, Jean Danet as a kind man in a motorcycle whom the young priest likes, Martine Lemaire as the young church student who tries to push the young priest with her antics, and Antoine Balpetre as the doctor that examines the priest early in the film until his sudden death. Jean Riveyre is excellent as the count who tries to warn the priest to leave the town only to become indifferent towards him while Rachel Berendt is great as the countess who has this amazing scene where she deals with her own crisis of faith.

Nicole Ladmiral is superb as the very troubled Chantal who reveals her own suffocation in living with her parents as she reveals her hatred while trying to avoid questions about her own true temptations. Adrien Borel is wonderful as the older priest from another town who tries to bring guidance to the young priest while realizing that some things aren’t exactly as it seems. Finally, there’s Claude Laydu in an incredible performance as the young priest who tries to deal with his sudden sense of doubt as well as the lukewarm reaction to his arrival in a small town. It’s a very entrancing performance that requires a lot of physical body language as well as understated moments to display the anguish he’s dealing with as it’s a performance that has to be seen.

Journal d’un cure` de campagne is a truly captivating and mesmerizing film from Robert Bresson that features an intensely chilling performance from Claude Laydu. The film is truly one of the best and most provocative features to discuss the themes of faith and doubt without having some kind of overbearing message. Notably as Bresson tries to find the humanity in a man that is trying to play the role as a servant of God in a world that is often very cruel. In the end, Journal d’un cure` de campagne is a masterfully-crafted and engrossing film from Robert Bresson.

Robert Bresson Films: (Les affairs publique) - (Les Anges du peche) - Les Dames du Bois de Boulogne - A Man Escaped - Pickpocket - The Trial of Joan of Arc - Au Hasard Balthazar - Mouchette - (A Gentle Woman) - (Four Nights of a Dreamer) - (Lancelot du Lac) - (The Devil Probably) - L’Argent

© thevoid99 2012

Mouchette

Based on the novel by George Bernanos, Mouchette is the story of a young girl living with an ailing mother, an alcoholic father, and a baby brother as she struggles with her environment while having a dark encounter with a poacher. Written for the screen and directed by Robert Bresson, the film is a coming of age tale of a teenage girl as Bresson explores her daily routine and the drab life that she lives in. Starring Nadine Nortier, Jean-Claude Guilbert, Maria Cardinal, and Paul Herbert. Mouchette is a devastating yet mesmerizing portrait of a young girl’s life from Robert Bresson.

Mouchette (Nadine Nortier) is a young girl who lives in a dilapidated home with her abusive yet alcoholic father (Paul Herbert) who works nights transporting alcohol with her older brother. Mouchette would care for her baby brother and her ailing mother (Marie Cardinal) for days and night while going to school in ragged clothing where she’s treated cruelly by her classmates and her teacher. Though she would often try to find time for herself during a carnival day where she rides bumper cars and catch the interest of a boy. The presence of her father would prevent her from making some form of contact.

One day after school, Mouchette would walk into the woods during a rainy day where an epileptic poacher named Arsene (Jean-Claude Guilbert) had an encounter with the local gamekeeper Mr. Mathieu (Jean Vimenet) over a local barmaid named Louisa (Marine Trichet). Mouchette later meets Arsene as something probably happened as he takes her to his cabin where he would have a fit. Later returning home, Mouchette realizes her mother’s illness is worsening as she starts to ponder about her own life and the idea of being appreciated.

The film is essentially a portrait of a lonely young girl living in a rural French town where not a lot is happening and her home life is troubling as her mother is very ill with a baby brother that is need of care. The girl’s father is an alcoholic who works nights to transport alcohol for a bar and doesn’t treat her very kindly leading her to feel bad about herself. At school, she is often seen wearing the same ragged clothes with shoes that are too big for her to wear where she is ridiculed by her teacher for not singing and then singing off-key. For this young girl, it’s part of the world she lives in with not many people who will treat her kindly as she often feels she’s not good enough or trustworthy for anyone.

Robert Bresson’s script doesn’t start off with Mouchette and her plight but rather a scene where her mother revels about the life that her children will lead once she is gone. He then follows with scenes about the gamekeeper watching the poacher catching game which doesn’t really have to do anything with the main plot of the film until later on when Mouchette would have to deal with the poacher. What Mouchette would encounter with this man will test not just her loyalties but her usefulness as she feels like she’s part of something. Yet, her devotion to her mother and baby brother would only make her feel morally confused in what she’s doing. It would only get worse when its aftermath makes her feel more out of place with everyone as she is lost.

Bresson’s direction is truly mesmerizing in the way he follows the girl as he uses his script to let things play out naturally as there’s not a lot of dialogue that goes on. Instead, he observes the life of a young girl from afar with some close-ups and intimate shots of the girl’s surroundings. While the film also includes lots of gorgeous nature shots to exemplify the world that she is in as well as the poacher and gamekeeper. There is a very entrancing look to the those nature scenes as well as a scene of Mouchette in the bumper cars which adds a liveliness to the way it plays out. The film’s ending is definitely one of the most iconic for the way Bresson just let things play simply and frame it in such a delicate manner. Overall, this is a truly outstanding yet heartbreaking film from Robert Bresson.

Cinematographer Ghislain Cloquet does a superb job with the film‘s black-and-white photography to complement the naturalistic look of the nature scenes with lots of beautiful sunny touches of its location to more darker yet eerie lighting schemes for the interior and exterior nighttime scenes. Editor Raymond Lamy does an excellent job with the editing by using jump-cuts and other sort of rhythmic cuts to intensify some of the drama or to slow things down for the scene to play out.

Art director Pierre Guffroy does a wonderful job with the set pieces created such as the bar the gamekeeper and poacher frequent as well as Mouchette‘s poor home and the poacher‘s spacious cabin. Costume designer Odette Le Barbenchon does a nice job with costumes to complement the look of Mouchette‘s personality which is filled with oversized clogs, a coat-like dress, and ruined socks to display her world. The sound work of Jacques Carrere, Daniel Couteau, and Severin Frankiel is terrific for the way the locations are captured including the nature scenes during its rainy day to convey the dread that Mouchette will face. The film’s score by Jean Wiener is very good to as it only appears in the bumper cars scene while the film opens and closes to a piece by Claudio Monteverdi for the appears to liven up the film.

The cast, which is mostly non-professional actors, are amazing it features notable appearances from Raymonde Chabrun as a grocer and Suzanne Huguenin as an old lady as they both offer to help Mouchette along with Marie Susini as the gamekeeper’s stern wife, and Marine Trichet as the barmaid that the gamekeeper and poacher fall for. Other noteworthy small roles include Paul Herbert as Mouchette’s abusive father, Marie Cardinal as Mouchette’s sickly mother, Jean Vimenet as the gamekeeper, and Jean-Claude Guilbert as the epileptic poacher Arsene. Finally, there’s Nadine Nortier in a brilliant yet harrowing performance as the titular character from the way she acts out her quiet emotions to the despair she has to endure as it’s a truly remarkable performance.

The 2007 Region 1 DVD from the Criterion Collection presents the film in a newly restored high-definition digital transfer for its 1:66:1 theatrical aspect ratio for the widescreen format. Featuring new and improved English subtitle translation, the film is given a look that is beautiful to complement its gorgeous cinematography and mesmerizing sound work. The DVD includes numerous special features a trailer that was edited by renowned French filmmaker Jean-Luc Godard.

The feature audio commentary by film scholar Tony Rayns has him discussing the film and its themes. Rayns also reveals what Robert Bresson did change for the film from the actual book in order to create a story that explored the isolation of this young girl. Rayns discusses the themes of a girl’s coming-of-age while suggesting that it’s also about her own sexual awakening while reveling into Bresson’s methods as a filmmaker. Rayns’ commentary is very relaxed and engaging into the film and Bresson’s history while he offers his own interpretation to the film’s controversial yet famed ending.

The thirty-minute Au hasard Bresson documentary by German filmmaker Theodor Kotullar is a making-of documentary on the film Mouchette where Robert Bresson expresses his thoughts on cinema. The film shows Bresson’s approach to directing actors and non-actors while setting up scenes and relaxing between takes. Bresson’s views on cinema reveal a lot of what he thinks as he finds little difference between theater and film in their respective mediums though he admits to not having a high opinion towards the latter. It’s a wonderful documentary short on Bresson as well as a great in-depth look into the making of Mouchette.

The seven-and-a-half minute “Travelling” segment for the film-magazine TV show Cinema features on-set interviews with Robert Bresson and actors Nadine Nortier and Jean-Claude Guilbert as they talk about Bresson’s approach as well as the film itself. Jean-Luc Godard’s trailer for the film is a mixture of playfulness that also emphasize on the dark elements of the film itself. Film writer Robert Polito’s essay on the film entitled Girl, Interrupted divulges into the film’s themes and how it relates to the other films of Robert Bresson prior to this one. Polito also dwells into the tragic circumstances of Mouchette’s trials and tribulations of how she tries to rebel against the world around her. Polito’s essay is a short yet excellent read about Bresson’s revered film.

Mouchette is an affective yet entrancing film from Robert Bresson featuring an astonishing performance from Nadine Nortier. The film is a truly uneasy yet mesmerizing portrait of a young girl’s life as she endures the alienation and unhappiness of her environment. For those interested in Robert Bresson, this film is a worthy place to start for anyone interested in his visual style as it’s quite evident in some of the early work of American filmmaker Terrence Malick. In the end, Mouchette is an extraordinary though very distressing film from Robert Bresson.

Robert Bresson Films: (Les affaires publiques) - (Les Anges du peche) - Les Dames du Bois de Boulogne - Diary of a Country Priest - A Man Escaped - Pickpocket - The Trial of Joan of Arc - Au Hasard Balthazar - (A Gentle Woman) - (Four Nights of a Dreamer) - (Lancelot du Lac) - (The Devil Probably) - L’Argent

© thevoid99 2011