Gabin (TOUC.TEMOIGNAGE) (French Edition)
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Mostly a discussion of Bernanos's two different Mouchettes: Sous le soleil de satan and Nouvelle histoire de Mouchette. Rhode discusses it in terms of paradox and purification, Bresson's detailed documentation of the real, and his fascination with formalist constructions. He concludes that Bresson measures the present "against the highest intellectual and moral standards of tie 18th century," and therefore "works in a void. Martin , 'Im Wettbewerb: 'Mouchette'', Filmkritik 11, no.
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Positive review of this "simple" film, which refuses poeticization and theological implications. Roulet, Sebastien. Review of Mouchette that points to its looser construction as a new departure for Bresson. Roulet distinguishes two forms of gesture in the films and levels of meaning that accompany each.
In an interview, Bresson comments on adaptations, sound, and his working methods. Review of Mouchette , which Sadoul values for its purity and considers to be a protest against violence and cruelty. Susini, a novelist who played the gamekeeper's wife in Mouchette, describes here her "strange experience," Bresson's courtesy and condescension, and her awe of him. Short review of Mouchette: "Quite simply, and without any shadow of a doubt, a masterpiece. Favorable review, primarily a comparison of Bernanos's Nouvelle Histoire de Mouchette and Bresson's films.
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Viscidi, Fiorenzo , 'Cinema e liberta', Cineforum 67 September , For a special issue on sound, an interview with Bresson on his use of it, including specifics on his method of gathering and rearranging sounds, as well as his use of music. Chabot decries the "myths" of the naturalistic, old-fashioned Bernanos and the pure, modern Bresson. Discusses the attitude toward violence, the Catholicism, and the social conscience that drives each work. Clurman, Harold , 'Films', Nation 7 October , Positive review of Mouchette : "Every shot of the pic- ture is a simple and telling declarative sentence.
Lengthy analysis of the film and the novel, and the distinctly different tone that characterizes each. Special issue with three articles on Bernanos's novel and two on Bresson's film: "Bernanos and Bresson," by Pierrette Renard-Georges, and "L'accueil de la critique en et ," by Jacques Chabot.
See entries , for annotations. Review of Mouchette Greenspun argues that the portrait of the girl is based too much on worldly, human concerns to "submit meaningfully to the elegant finality of her death," which is "perhaps more beautiful than any other sequence in Bresson's virtuoso cinema. Michelson, Annette , 'Etc. Short but suggestive article on Bresson's style and the failure of our "literary culture" to accord it the understanding granted other poetic styles. Milne, Tom , 'Mouchette', Sight and Sound 37, no. Review that describes the film as a "thinner experience" after the complexities of Au hasard, Balthazar.
Mouchette and Marie, however, are said to mark a new kind of character for Bresson, one who is solitary not by choice, but by imposition. This in turn marks a "shifting of the emphasis from the malleability of the Christian soul to the implacable indifference of the Christian world. Petrie, Graham , 'Mouchette', Film Quarterly 22, no.
Petrie points out the "rhythmic and visual bases" of the film that "act as a controlling counterbalance to the emotions contained in the material. Extensive quotes from the book illustrate Bresson's fidelity to its atmosphere and aesthetic, but the author feels that Bresson misses the depth of Bernanos's portrait of Mouchette by concentrating arbitrarily on the events and things that surround her.
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Rhode, Eric , 'Mouchette', Listener 21 March , Notes that Bressan has abandoned the guidelines of allegory and so made it impossible to know what Mouchette represents. Nonetheless, he "has managed to hew a neoclassical tragedy out of the lives of near cretins. Cameron, Ian ed. See separate entries for annotations. Also a filmography by Elizabeth Cameron. This first edition is lacking some of the material of the American edition entry Review that describes the film as a product of the "perfect union of subject, author, and time.
Statements from Bresson on color and from Ghislain Cloquet on working with Bresson.
Review of Une Femme douce that sees it as Bresson's most accessible film and the "best of the festival. Review of Une Femme douce in which the author meditates on his lack of sympathy with the fixed notions of Bresson's cinema. Ayfre describes Bresson's universe as 'one of "unfailing unity," then discusses the various poles of Bresson's work: the balance of abstraction and reality achieved through the use of concrete detail; the shift between film from character to person, as Bresson increasingly leaves our knowledge of his characters short of a full portrayal; the movement from loneliness to communication, a process Bresson explores graphically through his use of space and time; and the movement from immanence to transcendence, which Bresson portrays through paradox, death, and the "inexpressiveness of faces.
After an introduction disparaging the distortions of criticism that wrap a film up "too neatly," Barr inaccurately describes the film and interprets it at length. The essay attempts to unite the film through the concepts of will and responsibility, and eventually concludes that it is "profoundly ambivalent. Mouchette is described as a "dialectic between involvement in the world and withdrawal from it. Baud suggests that between Ayfre and Bresson there is a "spontaneous and total sympathy" that is expressed in their fascination with the questions of grace and free will.
Edited by Ian Cameron. Translated by Hugh Gray. London: Studio Vista, Review of Une Femme douce in which Bory criticizes the plot contrivances surrounding the husband's ignoble past and claims that at least one of the scenes makes no sense because of Bresson's transposition from the nineteenth to the twentieth century. By scorning the psychological, he says, "Bresson condemns his characters to nonexistence. Part interview and part review of Une Femme douce ; Bresson comments on the film, on suicide, on the themes of money and communication. Edited by Andrew Sarris. New York: Avon, Review of Une Femme douce , a film that concretely portrays the abyss between any two people.
Bresson is the only filmmaker to conceive and use an autonomous grammar, the only "musician of film.
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Positive review that emphasizes the economic relationship between the characters and the symbolic playing out of the plot -- the young innocent crushed by the orderly oppressive man. Londen: Studio Vista, Durgnat discusses the film as part of Bresson's "nonhumanist" vision, and says that its atmosphere, its "sense of convent life," is its "strongest claim to greatness.
Positive review of Bresson's "most direct film," which is a reflection on love in modern society. Positive review of this "most Bressonian" of films, which refuses us the satisfaction of understanding, but nonetheless commands our attention at every "impeccable image. Reviews and a comparison of Une Femme douce and Ma nuit chez Maud as they fit into the Pascalian-Jansenist philosophical tradition.
Greene speculates on the faith of the two main characters and concludes that grace is the alienating, isolating factor for all of Bresson's characters, which creates an "unconsolable vision. Positive review: "The usual language of critical praise seems beside the point in discussing Bresson's films. Martialy, Felix e. Mekas's reflections upon seeing the film for the first time are more poetic than critical: "About flowers picked and never taken home.
About bourgeois jealousy. About jealousy. About two diagonal lives. Discusses the film in relation to Bresson's other work and considers it an oddity in that respect. Various camera and sound effects are listed, as well as Bresson's "expressive use of physical objects," but Millar comes to no conclusion, evidently feeling the film to be of an interim nature. Discusses Pickpocket as atypical, a film quickly and simply made, with a "relatively straightforward basic pattern. This balance is especially evident in the virtuoso pickpocketing scenes shot in the streets of Paris. Factually inaccurate article that portrays the film as a celebration of the theological mystery of human free will.
Murray analyzes the beginning sequence and sees the entire film as an elaboration of it. Detailed essay in which Murray describes the formal elements that make up this "very musical film" and argues that fragmentation of time and space is an attempt to realistically present Jeanne's point of view, 'to make us see the voices. Nahun, A. A poetic essay that defies summary, but here are some hints of its richness: Oudart examines Bresson's attempt to create "a discourse totally transitive. From this long and sketchy introduction, Oudart moves to a Freudian-inspired discussion of Une Femme douce , a film in which "it is obvious that, for Bresson, nothing has weight.
No more subjective images, intentional or not, and no more obsessive right angles. Bresson is through with the eroticism of a point of view. It is not the desire that is the problem for Bresson's characters, but love. How can there be truth in their relationship, if in their communication, an Identity is not created by the signs exchanged? Still, Bresson asks, how can representation be avoided? What must be inscribed in the film to ensure the truth? And thus, he marks this otherwise "anonymous film," and justifies this "fantastic obliteration, this editing that could not create anything.
Oudart is a formidably dense theorist, and Bresson has been a persistent inspiration to him see index. By using repeated shot-reverse shots and an oblique angle of framing "frankly admitted and used as a system" that results in the character's glance being imperfectly subtended, Bresson reserves, that is, never visibly defines -- part of the space of the absent. This space is reserved for the "imaginary subject of the discourse," and the suture is then able to reveal this "other" subject. In an interview, Resnais comments on the meticulous soundtracks and poetic dialogue of Bresson's early films.
Skoller, Donald S. Short review of "the most classic" of Bresson's films; Wagner compares the heroine to Antigone and claims that Une Femme douce marks the point where Bresson's style "establishes itself as universal. In an admiring review, Wenders hypothesizes that the "creator" of the photographic image would have been pleased to know that the invention is being used so "unfathomably well. Review of Une Femme douce , Bresson's "first non-Christian film.