Bresson. I have two big masterpieces for Bresson (A Man Escaped, Pickpocket) that show well in my top 500 but that’s it for Bresson there. I’ve yet to have a 3rd (or 4th or 5th) film from him emerge. Until then, it’s unlikely I’ll have Bresson move up my list. Two interesting quotes here I found on Bresson from great sources. “Bresson is perhaps the only man in the cinema to have achieved the perfect fusion of the finished work with a concept theoretically formulated beforehand”- Tarkovsky. “He is a great director, even if no other great director seems less intrigued by cinema itself.”- David Thompson.
Best film: A Man Escaped. The best of Bresson- wonderful ascetic style. It’s largely about a man in a room. We have Bresson’s heavy voice-over inner monologue, reoccurring shots of hands and feet and stark background.
total archiveable films: 10
top 100 films: 1 (A Man Escaped)
top 500 films: 2 (A Man Escaped, Pickpocket)
top 100 films of the decade: 5 (A Man Escaped, Pickpocket, Au Hasard Balthazar, Mouchette. Diary of a Country Priest)
most overrated: Au hasard Balthazar– I tried it in 2010 and again 2014. I’m due again. I appreciate the meticulous editing and Bresson’s deeper parable and work with his actor/model here (a donkey in this case). Certainly I’m not done with this film but I can’t get behind TSPDT having as #32 all-time.
most underrated: A Gentle Woman. I have it as Bresson’s 5th best and yet it’s not one of the 9 films on the TSPDT consensus top 1000.
gem I want to spotlight: Pickpocket. I’d start either here or with A Man Escaped if you are looking for one Bresson film or to start a study. The Paul Schrader intro on it for Criterion is excellent (and the film clearly had a profound impact on him and all of his work- particularly Light Sleeper and First Reformed). The existential spiritual prison, obviously more reoccurring shots of hands (sometimes stealing things here), inner monologue voice-over, diary writing, shots of man in prison or caged.
stylistic innovations/traits: Bresson’s films are made with tremendous care; very deliberate and detailed. I love the beautiful elliptical editing in most of his work. I love the voice-over in some films (A Man Escaped) and feel totally bogged down by it in others (Diary of a Country Priest). Certainly he is a Christian artist and much has been written about his achievement of transcendence through style. I certainly can appreciate his work in this area. One think I also appreciate is how he consistently drained his “models” (he called his actors “models” instead) completely of emotion. There’s nothing like it in cinema history from what I’ve seen (ok—Dreyer’s work is there, too) but it formally matches the stark mise-en-scene, elliptical editing, and formal structure.
top 10
- A Man Escaped
- Pickpocket
- Au Hasard Balthazar
- Mouchette
- A Gentle Woman
- Diary of a Country Priest
- L’argent
- Lancelot of the Lake
- Les Dames du bois de Boulogne
- The Trial of Joan of Arc
By year and grades
| 1945- Les Dames du Bois de Boulogne- | R |
| 1951- Diary of a Country Priest | HR |
| 1956- A Man Escaped | MP |
| 1959- Pickpocket | MP |
| 1962- The Trial of Joan of Arc | R |
| 1966- Au Hasard, Balthazar | HR |
| 1967- Mouchette | HR |
| 1969- A Gentle Woman | HR |
| 1974- Lancelot of the Lake | |
| 1983- L’Argent |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
I’m glad L’Argent got some well deserved appreciation on your list. I think I would still place A Man Escaped as his best film, for now, but whereas I think it’s good in some part despite Bresson’s gimmicks and style, L’Argent is the only one of his films where I feel he really accomplished what he set out to do with his unique method and style. Maybe because it’s more conceptual and stripped bare to actions than character driven and wordy (Country Priest was rough). I think in some ways Bresson is the least accessible of the known auteurs, less so than people like Tarr and Tarkovsky. I hope to get to his book that explains his approach to cinema in details soon.
Nonetheless, it just clicks, especially in the editing. He lets his frames breathe and exist before and after the action takes place, leaving room for the viewer to imagine what follows off camera range through sounds and the like (can’t talk about Bresson without the sound design part). It makes the setting feel lived in, separate, tangible and real, rather than a mere vehicle for the characters. It’s very calculated.
Jeanne Dielman did this brilliantly too years earlier, probably better even.
I’ve seen you tie l’Argent with Kieslowski, that makes me even more interested to know your thoughts. I must admit the similarity is not especially obvious to me atm, although I’m thinking of the yellowish filter and the fact that L’Argent has a concept akin to a commandment of the Dekalog.
@James Trapp Nice analysis btw, enjoyed reading it.
Personal favourites (top20 director for me):
1) Au Hazard Balthazar (MP)
2) A Man Escaped (MP)
3) Mouchette (MP)
4) Pickpocket (MP)
5) L’Argent (MS)
6) Diary of a Country Priest (MS)
7) Trial of Joan of Arc (HR)
8) The Devil Probably (R)
Still a few to see
@Drake – Yeah, I am occasionally tempted to compromise quality for hard to find films by using lower quality sites. I have made the compromise in the past but at this point would rather rain check it. I actually have a “Wish List” at this point lol
@James Trapp- Same! I’ve seen many crappy VHS and bootleg DVD copies over the year. Now it is mostly streaming of course- I’ll be 5 minutes into a bad quality youtube version of a film I’ve been trying to see for 10 years and pull the plug. It hurts- but I’ve found it is for the best
Final Ranking and Grades:
Study Summary:
I watched 9 Robert Bresson films as these were the 9 Bresson films that were included on Criterion Channel this month, but they seem to make up the majority of his work and certainly includes all his most highly regarded work, so I did not feel the need to seek out the other 3 films as he has 12 total full length feature films
Similar to fellow auteurs such as Andrei Tarkovsky, David Lynch, Terence Malick, and Nicolas Roeg to name a few; Bresson has a style that is so singularly recognizable once you have seen a couple of his films.
Similar to Andrei Tarkovsky and Ingmar Bergman, Bresson’s films explore very serious subject matter, religion, dark sides of human behavior, individual’s vs society amongst other themes. They take place in a harsh and unforgivingly cold world. And like Tarkovsky and Bergman, Bresson’s work is undeniably religious in nature. Bresson is extremely highly regarded by other filmmakers, that does not really change the way I approach reviewing films but interesting none the less. To Tarkovsky Bresson was a filmmaking God
Bresson favors diegetic sounds and often they are ones coming from something off screen like in Pickpocket (1959) when Michel is at the horse track, we hear sounds coming from the race but do not actually see any of the race or a scene from Au hasard Balthazar where there is a car crash off camera. This encourages viewers to create mental images on their own. Bresson rarely used scores in his films for the same reason he used non-profession actors, he did not want to manipulate the emotions of viewers, he was not interested in creating theatrics. He was known for wearing down actors or as he called them “models” by shooting scenes dozens of times until all the emotion was removed.
Bresson often forgoes establishing shots in favor of capturing characters waist or chest on down. He does not spend much time setting up the film’s narrative. His films tend to be around 90 min with 2 of his top 3 films (by my ranking) clocking in at 76 min and 84 min
Bresson’s films are simple; there are no plot twists, no intricate layers of narrative, and no attempts to manipulate the viewer’s perspective. The viewer never learns anything regarding character’s backstories even though they do have access to the thoughts of the protagonist in some of his films with first person narration
Bresson used 50 mm lens for every shot in his films, he did not want any single image to stand out above the rest in his films
Bresson has 3 MP in my book; A Man Escaped (1956), Pickpocket (1959), and L’Argent (1983). They are all close I quality and I might change the order with additional viewings but for now I am good with Pickpocket at # 1 followed by L’Argent at # 2 and A Man Escaped at # 3
The tier below has Au hasard Balthazar (1966) and Diary of a Country Priest (1951). I initially ranked Country Priest as a MP but after watching A Man Escaped and Pickpocket, I changed my mind. Not that there are a fixed number of potential MP, but the comparison helped to more accurately rate the film
Here are my Final Grades and Rankings
MP
# 1 Pickpocket (1959)
# 2 L’Argent
# 3 A Man Escaped (1956)
MS
# 4 Au hasard Balthazar (1966)
# 5 Diary of a Country Priest (1951)
HR
# 6 Mouchette (1967)
# 7 Les Dames du Bois de Boulogne (1945)
HR/R
# 8 The Devil Probably (1977)
R
# 9 Trial of Joan of Arc (1962)
@James-Didn’t you watch Gentle Women(1969)? It is a miss. It missed the top 1000 I think. But still highly rated here. Sanda was on a roll in these years working with Bresson(Gentle Women), Bertolucci(The Conformist) and De Sica(The Garden of the Finzi-Continiz)
@Malith – “I watched 9 Robert Bresson films as these were the 9 Bresson films that were included on Criterion Channel this month, but they seem to make up the majority of his work and certainly includes all his most highly regarded work, so I did not feel the need to seek out the other 3 films as he has 12 total full length feature films”
Also I just looked and it’s not in any of my normal places to watch. Where did you see it?
Not sure where I watched it. It was few years ago. I wouldn’t call this an unimportant film for Bresson. It is quite good. Maybe not as good as something like Pickpocket but still. I try to seek out anything from a director that is R/HR or higher. These need to be watched.
@Malith – I did not mean to insult the film, I scanned some lists ranking Bresson films and did not notice it near the top of my rankings which does not mean I do not think it is worth watching. I want to get through as many director studies as I can, so many great auteurs with limited time so convience also becomes a factor, in this case Criterion covering 9 of his films made the decision easier.
@James Trapp – just my two cents, but this is the best decision- do the best you can with what’s available in high quality and move on. Hopefully come back to it when it comes available on criterion or somewhere else
L’Argent (1983)
Notes:
Starts with solid green wall during opening credits
Shot of well-dressed man in study, green curtains and brown wooden desk. His son, Norbert, asks for more money but does not get it
2:41 start of pattern as father hands son his monthly allowance with a close up shot on them exchanging the money from the father’s hand to the son’s hand
4 min two wealthy teenager boys talk about counterfeit money
4:30 solid green wall
7:20 man realizes the bill in counterfeit
7:55 everything in frame in green including a man whose face is not shown at first, we learn his name is Yvon, he delivers heating oil
10:15 close up on Yvon grabbing waiter who insults him and accuses him of counterfeiting bills, close up on his hand
15:28 the shop manager rewards Lucien lying under oath with money for “that suit you wanted”
16:56 holds shot of camera on the table in the shop Lucien works at, color palette continues
18:48 orange/red lighting upon Lucien’s boss entering room to confront Lucien for stealing from the store which Lucien does not deny
19:20 “I’ll be a good guy when I’m rich”
21:50 “deny everything” not a single character with moral values so far
22:08 green and brown mise en scene
22:42 pay off is accepted of course
27:25 wide angle shot of bank robbery as Yvon waits in getaway vehicle
31:28 judges in red robes sentence Yvon to 3 years in prison
37:24 shot of characters through bars
37:53 green mise en scene does not let up even in prison
38:16 foreground/background with Yvon’s wife visiting in prison separated by glass
38:50 frame in frames
39:33 shot of ATM that was used in opening credits
40:42 close up on Lucien’s hand as he is performing a scam on ATMs buy stealing card numbers
41:17 brilliant editing with transition from ATM cover closing after Lucien gets money from machine to prison gate opening as car (carrying mail for prisoners) enters the premises
42:40 brutal news
43:13 green and beige mise en scene inside prison cell
44:24 triangle composition with Lucien’s replacement employee
45:10 hilarious note although I don’t know if its meant to be funny; Lucien apparently is a “good guy” now as he is giving to the poor, at least that is the rumor going around
46:06 prison sequence in dining hall
47:24 a depressed Yvon grabbed object that could be used for weapon but throws it on ground right after camera pans down to his hand
48:53 shot of prison bars
49:39 reads letter indicating his wife has left him for good to start over, leads to failed suicide attempt
53:23 judges hands followed by shot of over shoulder of Lucien in court after being arrested
54:46 new batch of prisoners includes Lucien followed by Yvon returning from the hospital seconds later
56:48 holds camera as
57:16 fours green prison jackets
57:44 nice blocking as frame filled to the brim with the prisoners listening to sermon with most of the preacher’s speech off screen
1:01:07 Yvon in middle of frame with prison bars in foreground and the wall to leave the prison in the background of the frame, this right before Yvon leaves
1:02:02 sign in green
1:02:10 shots close to walls creating claustrophobic environment, inside dimly lit apartment
1:07:10 another composition with dedicated color palette
1:11:00 profile shot of older woman who takes in Yvon
1:15:33 Yvon carrying basket of potatoes
1:16:24 frame in frame using window
1:16:38 rare silhouette image
1:17:38 nice blocking and with 3 depths of field
1:18:44 older woman is only selfless character in entire film
1:20:38 lantern appears from off screen and then an axe is used to get in house during night
1:21:50 dog going crazy as members of family shown murdered
1:22:45 an ax is thrown off screen before landing in lake
1:23:40 Yvon has drink at local bar and then emotionlessly confesses to a police officer in the bar that he murdered an entire family, no explanation is offered and film ends
Thoughts:
Bresson’s final film might be his best
This is Bresson’s second film in color and his use of green is really impressive. Tan and beige are probably the other most commonly used colors. In fact, I’ve rarely seen this through dedication to color from the 1st frame to the last
Bresson is often called a minimalist and his films often called spare, economical, austere, amongst other adjectives, I prefer efficient, and this might be his most efficient film; the narrative follows so naturally that I cannot think of a single “unnecessary scene”. The editing is crucial to this flow, as everything in the film is transactional. Bresson focuses on hands more than any other director I have seen, and he really applies this here throughout the entire film. And as always from Bresson, there are little to no establishing shots and characters’ faces are often kept out of the frame. Elliptical editing is used in several scenes as well
As usual with Bresson there is no score, the only sounds are diegetic ones, this is perfect for the films cold and detached characters, you could say this applies to the majority of Bresson’s films but I think it actually applies here more than any other of his films
Aside from the older woman who takes in Yvon, no character displays any semblance of morals, I love Lucien telling his friends “I’ll be a good guy when I’m rich”. And of course, Yvon’s final act in the film is utterly shocking in what it depicts but the matter of fact in the way it is presented. Yvon is just as corrupted by money as all the other characters by the end when he brutally murders several people including the woman who selflessly took him in
There seems to be an interpretation of fate here as the initial decision that the wealthy teenage boys make sets off a domino effect. Lucien and the other characters demonstrate a complete lack of consideration for others. Perhaps there is an interpretation that this film is more about a society than any single individual character. Bresson’s penchant for focusing shots without characters faces would seem to be appropriate here, as money has a corrupting power causing the selfish characters that inhabit the film’s world to be indistinguishable for one another from a moral perspective
A corrupted society which causes ripples that cannot be seen until they are actually happening. Bresson seems to be offering a critique of modern society. The close up on hands exchanging money creates a heightened awareness of its power
Doors are a motif, Bresson frequently uses doors to frame his shots, and the constant moving through doors and shots of doors starts with the opening credits where the ATM door covers the entire frame. Half opened doors are also shown throughout the film. Just before Yvon is released from prison there is a shot with the prison bars in the foreground and door to exit the prison in the background. With Yvon in the middle of frame
Verdict: MP
@James Trapp- really well done- congrats here and on the entire Bresson study
@Drake – thank you, I had wanted to do this one for a while. Long Live The Criterion Channel!
The Devil Probably (1977)
Notes:
Starts with shot along water at night, lights from slow moving boat in background during the opening credits
2:40 shot of newspaper article on a teen/young adult suicide and then dissolve to another newspaper saying the suicide might be a murder
3:50 group of young adults in dimly lit space with green/yellow painted walls with man in background standing on stage speaking to the crowd
5:20 montage of hazy images of factories polluting surroundings
6:58 shot of tanker dumping chemical through body of water
8:38 suffering animals
10 min young adult male and female speak standing outside before young woman is picked up by friends in car
11:18 pile of empty glass coca cola bottles in apartment in foreground of shot
12:15 empty brown chairs fill entire frame
15:12 text of a book looks suspended mid air with only shots of characters hands
17:38 glass door as frame
19:24 green and brown in mise en scene
26:46 green and brown in mise en scene
27:13 montage of trees falling down or really being cut down except the actual power tools used to do it are only heard as they are unseen
29:13 blue lighting from projector stands out, similar to earlier shot as small group watches images of screen from projector
33:52 light green heavy in mise en scene
40:50 close up on gate for apartment elevator
41:30 flute noise a couple of seconds before shot of man playing flute in small circle
43:10 gun in the hand of Charles followed by shot of a single bullet in his open palm
44:16 long shot with 2 characters deep in background as they look for Charles
45:50 shot of water and outgoing circles caused by Charles firing shots into water
49:32 atomic bomb on TV
54:36 women talking in park by lake
56:05 nice blocking with characters faces shown in profile
56:46 car window as frame
59:23 empty coke bottles in apartment
1:05:58 door left partially open in center of frame
1:07:06 characters referencing Victor Hugo
1:08:38 characters lie in drug induced stupor
1:10:45 nice use of green lighting
1:11:13 shot of empty wooden chairs taking up entire frame, similar shot earlier
1:12:20 Charles in foreground with two police officers flanking him, they are shown waist down
1:18:24 Charles speaks to psychiatrist about his suicide thoughts
1:19:41 not close to his father who is rich or mother who he says only cares about money
1:21:44 “I hate life, but I hate death too. I find it appalling” and when Doctor tells him to come back “I’m not ill. My illness is seeing too clearly.” Doctor’s response “Of course, Its 200 francs a session” a rare chuckle from me during a Bresson film
1:25:10 fences through frame
1:25:38 high angle shot with characters moving through frame
1:26:46 “farewell” upon purchasing a loaded gun
1:31:13 dimly lit subway stairs
1:34:34 a cemetery seems fitting for an arranged death as Charles pays gunman to kill him
1:35:40 Charles shot in back of head in midsentence followed by gunman placing gun in his hand, he then takes the money in his pocket and runs off ending the film
Thoughts:
Bresson’s first film in color; there is a dedicated use of green and brown in the mise en scene throughout the film
At times feels more like a documentary, there are several scenes where the characters are actually watching a documentary like images of pollution, environmental problems, etc. on a projector screen. In fact, it seemed a little heavy handed early on but retained my interest throughout
I watched First Reform (2017) again recently, conversations in that film cover similar ground in this film, given Shrader’s known affinity for Bresson this does not seem like a coincidence
A study in pure nihilism that is slow at times narratively and frankly a little strange earlier on when it almost seemed like a documentary of sorts. None the less the film’s overall tone is similar to Bresson’s other films that examine individuals who struggle psychologically. What is different in this film is that the struggling individual is wealthy and privileged while in films like Mouchette, the struggling individual is powerless against an uncaring and cruel society
The decision to show the ultimate fate of the protagonist in the opening of the film probably does not alter the first time viewing experience all that much, as the film progresses it is clear that nothing is helping to improve Charles bleak perspective that life is meaningless
Verdict: HR/R
Mouchette (1967)
Notes:
Mouchette, whose name means “little fly,” lives in rural French village with her alcoholic father and sick mother
2:42 close up on face of man, the face is partially obscured in a field
3:18 close up on face in center of the frame which is partially obscured in a field
3:33 trap is set by man
4:10 bird caught in trap, there is back and forth between close up on face on man and the bird struggling to get out of trap
5:25 hunter has bird in his bare hands but decides to let it fly away, this man later revealed to be Mr. Mathieu
6:06 Mouchette shown for the first time, literally crossing paths with man from the field
6:52 different man from opening drinking in bar during day, this character is named Arsene
8:48 two people shown from chest down carry boxes of booze
9:40 triangle composition with 3 men drink shot together
10:22 Mouchette in foreground, sickly mother in background of frame lying in bed
12:22 shot capturing characters waist down
12:27 shot of Mouchette walking through a gate (trademark Bresson shot)
14:50 short montage of Mouchette throws rocks at classmates whose faces are often kept off screen
15:25 shadow of Mouchette
15:45 boys expose themselves to Mouchette (thankfully kept off screen)
17 min the lack of score thus far signifying her monotone existence
17:22 door used to frame shot
19 min bells heard in background for a over a minute
21:32 Mouchette in bumper car
22:40 score upbeat and optimistic as Mouchette and boy in bumper car smiling at each other
25:25 Bresson pans back and forth on the carnival ride, diegetic carnival music playing in back
30:50 Mouchette isolated in middle of frame during rainstorm
31:10 moon at top of frame
31:38 shoes stuck in mud during steady rainfall
35:06 another shot of moving cloud and moon
46:25 rehearsing story
52 min Mouchette shown in high angle shots from Arsène’s POV throughout scene showing power imbalance between a grown man and Mouchette as he sexually assaults her
54:57 Mouchette walking past gate
57:10 shot of Mouchette’s face followed by pan down revealing baby in her arms
1:03:50 dissolve edit as Mouchette finds deceased mother
1:04:32 religious iconography by bed
1:05:38 rare show to kindness, this does not last long
1:07:07 doorway as frame
1:08:18 Mouchette in middle of frame with tree taking up the right 1/3 frame
1:09:50 Mouchette lies to cover Arsène
1:15:13 Mouchette insults old woman for no apparent reason after she gives Mouchette clothes for free
1:16:56 hunters in same field as opening of the film
1:17:44 bunny struggles similar to bird in opening scene
1:19:00 Mouchette spontaneously rolls down hill near Lake 3 times in a row with the third and final timing resulting in her going into Lake and not coming back up
Thoughts:
Bresson continues his themes and style; frequent shots of characters showing everything below their heads/faces, use of doorways for framing shots, sparse use of dialogue at times, lack of sentimentalism
Jean-Claude Guilbert has significant role here just as he did in Au hasard Balthazar (1966) which apparently is the only time Bresson used an actor more than once
This works as a complementary film to Au hazard Balthazar only that film functioned as an allegory whereas here the focus is on a young, neglected girl, to say this film is bleak would be the understatement of the century, Mouchette takes endless abuse, though she occasionally fights back unlike the Donkey in Au hasard Balthazar. But ultimately, she has limited options with a terrible family life and no friends at school
Ends in a similar manner to Au hasard Balthazar on the surface except with that film the Donkey dies after a life of mostly misery but the death is inevitable of course as all death is except in Mouchette the title character is just a kid
Verdict: HR
@Drake – I know you said you rewatched several of Bresson’s films recently wiht that huge upgrade for L’Argent (1983). Was one of those recent viewings Au hasard Balthazar? TSPDT now ranks it at # 29 all time up from # 36. I found it to be a very impressive film, and that was my first viewing. But # 29 all time seems crazy high to me.
@James Trapp – Yes, this was one in the little study in 2023- prior to the top 1000 update.
@Drake – Did your opinion of it increase significanty either way?
* Did your opinion of it change significantly either way?
@James Trapp- No, I’ve had a long relationship with it going back 20 years, seen it 5 times – I sort of know what it is and what it isn’t at this point – I guess it always feels good to confirm that.
Au hasard Balthazar (1966)
Notes:
Starts with shot of donkey in French Village, Pyrenees
2:50 high angle shot showing the village on a steep hill
4:32 children playing with donkey with piano playing in the score
6:28 dissolve edit as Donkey is now treated with cruelty by local farmers
7:09 focus on Donkey’s legs as it carries
9:04 Donkey running past open gate
10:56 nice foreground/background work
11 min schoolteacher and his daughter use Donkey on farmland
12:46 nice blocking with group of 5 teenagers who all seem to move in unison
13:01 gate in foreground with people in background is a shot Bresson likes
14:08 natural sounds, insects
16:30 narrow door frame, as Marie watches teenage boys treating Donkey with cruelty
17:51 close up on character reading over legal document regarding a land inheritance
22:08 close up on hands and letters on a table
24:44 teenage boy wearing dark jacket hits donkey followed by close up shot on Donkey’s face, after boy sets Donkey and fire
27:27 Gerard in profile walking up stairs
31 min Donkey is literally in the middle of Marie and Gerard
32:40 Bresson fence shot
33:17 Bresson fence shot
33:39 hand and arm shown before full shot
43:30 radio in foreground
43:57 passing of time throughout weather, rain to snow as Donkey stands out in cold
46:52 nice composition with waterfall in background of frame
47:03 overhead shot of Donkey’s
47:24 top center of frame moving clouds over moon with surrounding black
48:37 Donkey yelping in pain off screen
51:10 shot reverse shot with Donkey and a caged Tiger and then a shot of another large animal in a cage as Donkey becomes part of show business
55:18 Arnold with Donkey, high angle shot with town in a valley in background of frame
56:45 nice blocking as 3 characters in frame see police approaching through window
59:06 noticeable change in atmosphere through upbeat music, piano
1:00:30 Marie admits love for Gerard though infatuation might be more accurate
1:01:35 mirror shot, Gerard smashes up everything in sight at bar, yet the party continues
1:02:25 another shot of Donkey
1:05:42 Arnold dies falling off Donkey
1:06:00 series of edits showing Donkey’s changes in setting, again with cruel owner
1:09:14 stark imagery of countryside as rain begins
1:14:44 Marie in house with older, cruel man
1:18:40 Marie in profile
1:19:24 close up on Donkey eating grass with return of score
1:23:08 camera stationary as Gerard and his crew run toward field away from camera
1:32:24 camera held as Gerard and friend run downhill
1:33:40 long shot as Shepard and sheep move through the landscape
1:34:38 Balthazar dying in the foreground of the frame with sheep in background
Thoughts:
More of the Bresson style; shots of characters moving past open gates and shown behind bars, heavy use of dissolves, limited use of dialogue, off screen sounds, frequent shots of hands and arms before full body shots, sparse dialogue, etc.
Very impressive bounce back after Trial of Joan of Arc (1962) which is clearly the weakest film of the study so far
The setting is a rural French Village but feels generic
The blocking and compositions were impressive at times, in particular when Gerard and his friends moved in unison in several scenes, such as all turning their heads at the same time
Anne Wiazemsky is great as Marie; she does not seem completely stripped of emotion like other Bresson actors
Elliptical editing is an effective choice in this deliberately non-sentimental film. Speaking generally, animals are sentimentalized in films. That is not the case here and really this makes sense as this film seems intended as an allegory. Balthazar moves through the world with no control over his life as he moves through multiple owners, many who exploit and mistreat him. This is especially the case with the sadistic Gerard who causes deliberate pain for no reason other than because he can.
The final shot of Balthazar dying in the foreground of the frame all alone while sheep move in a large group in the background of the shot is a brilliantly understated ending that is consistent in tone with everything before it
Verdict: MS
Trial of Joan of Arc (1962)
Notes:
Starts with Joan of Arc speaking before a bible with her face offscreen
5:57 dissolve
9:47 medium shot on sleeping Joan
11 min dissolve to 3 judges sitting in triangle composition wearing black robes
12 min Joan describes her experience
18:06 dissolve
18:23 close up on prison cell
18:44 jagged peep hole shot
20:23 shallow focus
23:30 jagged peep hole shot
29 min Joan refusing to back down
32:40 jagged peep hole shot
41:00 doorway frame
42:12 Joan condemned for heresy
46:21 “Repent or Die”
50 min Joan recants
52:32 Joan isolated in frame
54:04 two men in white inform Joan she is to die at the stake
54:56 Joan isolated in frame
55:42 close up on Priest’s hands as Joan prepares for her death
1:00:25 slow pan from ground to top of stake with Joan tied up in rope
1:01:20 close up on fire
1:01:36 rare high angle shot from Joans POV
1:02:28 shot on cross held while it disappears into a thick layer of smoke
1:03:36 nice blocking as onlookers watch burning at stake
Film ends with low angle shot of stake
Thoughts:
Let’s just say that Bresson’s take on Joan of Arc does not give Dreyer’s The Passion of Joan of Arc (1928) a run for its money, cinematically flat throughout the film
Repetition, Joan speaking in court to her in prison cell. The jagged peep hole shot is used throughout the film
The final 10 min had some strong shots, basically the burning at the stake sequence with a couple high angle shots of Joan looking down on those who condemned her, the cross disappearing to a thick layer of smoke is a strong final image
Verdict: R (Fringe)
Pickpocket (1959)
Notes:
Starts with a close up on a hand of a character writing in a diary
The protagonist is a man in his 20s named Michel, he is played by Martin LaSalle
3:10 gambling event “would I have the nerve?” The lack of establishing shot makes opening scene mysterious, what is Michel referring to?
4:50 close up on Michel’s hands taking cash from a woman’s purse
5:36 Michel gets a rush or high from stealing
6:08 Michel picked up by police but let go due to lack of evidence
10 min Michel and a friend talk with the Inspector who let Michel go
10:15 min Michel talks about “supermen” who are above the rules and laws of society
15:52 Michel gets up near victim in train, there is an intimate thrill that Michel seems to get from theft
19:16 caught red handed
21:07 doorway frame
23:01 Michel shown through window of business
23:44 dissolve leading to montage of Michel and his new partner in crime honing their skills
24:38 playing pinball to improve reflexes
27:11 Michel visits dying mother followed by elliptical edit to her funeral with Michel sitting next to his buddy and Jeanne, the young woman who was looking after Michel’s mother
28:04 Michel rare display of emotion, tears streaming down his face
29:45 close up on hand of Michel writing followed by dissolve
33:32 The Prince of Pickpockets by George Barrington
35 min inspector makes discussion with Michel and his buddy Jacques
39:27 secret hiding place for Michel’s money
40:07 close up on waistline as Michel bumps into his target/mark
41:45 Two Shot with Jeanne facing other direction sitting in outdoor cafe
43:05 dissolve
45:45 journal entry followed by dissolve
49:42 coordinated robbery
53 min Inspector visits Michel to inform him that he knows he’s a thief, Michel shows emotion raising his voice for the 1st time as he tells inspector to stop toying with him
58:50 Jeanne discovers Michel is thief
1:00:00 Michel confesses to Jeanne
1:03:25 journal narration as Michel went on the road for a couple of years making good money before wasting it on booze and women
1:09:40 close up on Michel’s hands as he is tempted my man carrying around large wads of cash
1:10:35 Michel arrested caught red handed, dissolve to Michel in prison cell
1:11:10 Michel in middle of frame behind prison bars in foreground
1:14:36 Michel and Jeanne face each other separated by prison bars, film ends with this shot
Thoughts:
Bresson’s take on crime and punishment
The face of Michel, played by Martin LaSalle, that blank stare is unforgettable because it is utterly unremarkable. This sounds like a contradiction I know.
Clocking in at just 75 minutes this is efficient storytelling, there are no establishing shots, Bresson throws us right into the action with the opening scene at the racetrack where Michel steals from a woman’s handbag
There is an incredible choreographed set-piece featuring Michel and two other men conducting a series of group thefts. Michel’s partner in crime was a real life pickpocket artist, he served as technical adviser for the film. The frames in this sequence are simple but meticulously crafted, the efficiency is thrilling, the average shot length is notably shorter in these sequences. Virtuoso filmmaking, using almost entirely close up on hands and characters waist levels where people carry handbags, wallets, etc.
The cat and mouse game between Michel and the Inspector results in a rare moment of emotion at the 53:28 mark when an agitated Michel throws a book when the Inspector visits him, this scene is one of the few that provides character backstory
I could be wrong, but I do not remember a single long shot in the entire film, almost exclusively close up and medium shots.
It is clear that for Michel it is not really about the money, he wears the exact same modest suit and tie the entire film and does not seem to care about possessions. Michel gets a thrill/rush/high whatever you want to call it from stealing from others, he is an arrogant man who feels entitled to break the rules/laws of society. It’s not clear where this entitlement comes from, and the film does not really seek out an understanding of Michel. In fact, the film does not really seek out answers to the questions it poses and is better for it.
Bresson again shows a penchant for off screen sounds, often natural ones, which are used in several sequences such as the horse race in the film’s opening scene, speaking of which I like the bookend of Michel caught stealing a horse race, maybe not technically a bookend since there is another scene but still
Michel behind bars is a shot seen in other Bresson films
Shots of Michel behind prison bars is another trademark from Bresson
Verdict: MP
A Man Escaped (1956)
Notes:
Starts with classical music during open credits, something more in tune with Tarkovsky
Set in Lyon, 1943, Lieutenant Fontaine is part of the French Resistance
2:40 close up on hands of the film’s protagonist, Fontaine, who is in a vehicle being transferred to prison
4:20 attempts to break away which fails
5:40 Fontaine lying down in a prison cell covered in blood
7 min Fontaine narrating his thoughts
8:20 spare prison cell
8:52 wall with prison bars at top of frame
9:09 three men walking in unison in courtyard, one of these men toss him string after walking back and forth several times
10:23 German prison guard
11 min Fontaine lowering bag using string, close up on hands during exchanges between Fontaine and old man in courtyard
13:27 close up on hands
19:55 dissolve
20:34 dissolve
22:50 close up on hands
25:12 medium shot on Fontaine with back to wall, claustrophobic
26:40 peep hole shot
29:25 canted angle with Fontaine and another prisoner speak on opposite sides of frame
35:40 peep hole shot
37 min Fontaine’s face takes up most of frame
39:24 sounds off screen of person in agony
40:46 Fontaine surrounded by fellow prisoners who do not think its possible to break out of prison, the prisoners are in a sense “non-believers”
45:15 facial hair as a marker of time
47:34 gun shots off screen
48:52 classical music from opening credits
50:40 peep hole shot
52:32 Two Shot of Fontaine and 2nd prisoner talking is a shot that has occurred several times
58:04 warden in foreground with blurry image of guards in background of frame
1:00:32 high detail, Fontaine building equipment for an escape
1:04:50 Fontaine is told he will be executed by firing squad
1:06:10 a rare scene where a character shows emotion
1:07:08 Fontaine meets his new cell mate named Jost
1:09:23 moral dilemma for Fontaine
1:12:38 Fontain stands over Jost as he makes his move in recruiting Jost to his cause, which of course is to escape from the prison
1:19:22 Bresson holds shot of lock on outside of prison cell
1:22:00 prison escape in motion after 80 min of build up
1:25:30 over head shot of guard in courtyard, portion of frame is completely black due to spotlight
1:28:44 train in background, Fontaine uses this as part of strategy as it blocks out surrounding noise
1:34:32 overhead shot of guard on bicycle
1:37:40 Bresson holds shot of Fontaine and Jost sitting in silence as tension continues to ramp up
1:39:30 Fontaine and Jost walk away to freedom as thick layer of smoke gradually fills frame
Thoughts:
Bresson style has fully arrived; close up on hands, emotionless actors or as Bresson calls them models, isolated characters, spare mise en scene, internal narration, repetition, etc.
I have always loved films with a high level of detail, Shawshank Redemption has the reveal at the end, here we see in unfold step by step fashion, rarely have I ever seen a film this methodical
Dissolve edits are used frequently, this is similar to Diary of a Country Priest
Internal narration is used heavily throughout the film, giving us access to Fountaine’s thoughts, fears
The close up on hands starts in opening scene, apparently Christopher Nolan lists this film as an influence for Dunkirk which on the surface might seem like a strange comparison but the idea of a singular focus on a character trying to accomplish a particular goal is what matters for Nolan
The singular focus on Fontaine’s goal is matched by his bare surroundings, in other prison films the characters will have something to humanize them, maybe drawing or reading novels, they might even have a picture of a loved one; here the prison is bleak and dreary as could be, mise en scene is simple with much of film shot with characters standing in front of solid wall or bars. There is no outside contact at all, not even through letter writing
The film is set during the French Resistance to the Nazi’s, but that context does not really matter all that much, all that matters is the basic outline of a character attempting to escape prison
As Fontaine plans the escape several other prisoners tell him it’s a pointless waste of time and not possible; there seems to be a possible religious undertone here with a group of non-believers whose opposition does not destroy the spirit of Fontaine
A number of the same images are shown throughout the film; Fontaine behind bars in medium shot or close up, Two Shot of Fontaine speaking with neighbor prisoner, peep hole shot, amongst others
The pacing is key to this film, there are 80 min of build up to the escape scene, so when you finally get here it is exhilarating even as it moves slowly, a bit like the heist scene in Jules Dassin’s Rififi
Verdict: MP
Diary of a Country Priest (1951)
Notes:
Starts with Priest writing and narrating diary
2:30 close up on sign for small village of “Ambricourt”
2:42 Priest shown in background of frame behind fence/gate
4:00 min dissolve from Priest in rural community to Priest writing diary
9:46 dissolve
10:01 slow zoom out from children in community
12:34 shot of Priest in Church, just one person attending
13:25 shot of Priest behind fence/gate from earlier is repeated
16:44 Two Shot with Priest facing away
17:28 Priest behind fence
18:29 doorway as frame, shot reverse shot
21:32 Priest shown in Two Shot at doctor, this following doctor shown at low angle from POV of Priest
23:07 Priest in middle of frame riding bicycle
25:30 dimly lit background in center of frame with Priest shown in silhouette
26:32 anonymous letter
30:12 dipping pen in ink
31:17 dissolve from bicycle to inside Church
31:48 frame filled with people, multiple layers of depth
32:35 Two Shot with Priest speaking with his superior, sound of bells in background
34:52 window as frame
35:27 shot of fence
38:32 excellent blocking with this Two Shot as Priest listens to confession of young girl named Chantal
38:44 zoom in on Chantal in confessional booth, interesting use of lighting as all the light removed so only Chantal’s face is visible in frame even though it is a medium shot
40:10 close up on Priests face as girl threatens to run away from her family
41:08 profile shot
52:05 Two Shot of priest in foreground and woman in background
53:14 dissolve
54:40 slow pan down
57 dissolves
57:32 Priest moving in foreground while others stand still
57:52 profile shot
1:02:02 dissolve
1:07:30 dissolve followed by window shot as camera slowly zooms in on Priest
1:14:23 Priest walking through field alone
1:15:18 Priest in kitchen with spare mise en scene
1:16:42 conversation about Priest drinking, his wine and bread diet
1:19:31 Priest drinking from coffee cup
1:20:15 close up on hands
1:20:32 Priest walking through empty field with nothing but leafless trees surrounding
1:26:19 window frame
1:26:45 dissolve
1:29:43 bodies positioned facing away
1:30:10 rare score playing in background
1:32:37 Priest behind the gate
1:33:01 desolate surroundings as Priest is only person in frame
1:38:20 Priest leaving doctor’s office with pessimistic expression
1:40:25 “to have peace only need quiet” as he sips black coffee
1:45:08 Priest in close up looking in rough health, isolated in frame with person speaking off screen
1:46:36 Two Shot with Priest in background
1:51:50 dissolve
1:53:53 slow fade to black after holding close up on Priest
Thoughts:
I had only seen once previously and have wanted to revisit for a while now but finding it has eluded me until now
This feels like the true start of Bresson. Les Dames du Bois de Boulogne (1945) was a solid, if somewhat conventional film but Diary of a Country Priest is the true debut of the Bresson minimalism style
The Priest is played by Claude Laydu, many of the actors in Bresson’s other films were not professionals and never appeared in any other films, apparently “non-believers” would not be considered for the role. Laydu starved himself for the role; this method acting preparation makes interesting contrast to the stripping down of all emotion that Bresson’s “actors” or should I say “models” became known for
Bresson uses dissolve edits over and over when transitioning from the diary writing to the Priest in action or from Priest in action to writing in the diary. So much of the film is the Priest writing and reflecting which would sound uncinematic on the surface but the dissolves, framing, repetition of shots, and overall structure/form counteract this
Heavy use of narration, there is actually little dialogue in the film, as most of the running time we are listening to the thoughts of the Priest as he navigates his Parish and deals with the parishioners. Additionally, Bresson uses off screen sounds in several scenes
Priest is often shown in isolation in the majority of the frames, and this is because much of time he is alone but even when he is around others, he is often shown isolated from others. Even when he does share the frame with other characters in Two Shots, the Priest is often facing away or otherwise not making eye contact with that character. Bresson’s use of Two Shots is impressive as they further demonstrate the Priest’s isolation even when he is not alone
Bresson uses doorways and windows to frame his shots, he holds these shots and will occasionally use a slow zoom in on faces
Prest behind black fence/gate shot is repeated throughout the film, this is a strong formal choice showing the Priest’s inability to become part of the village as he never truly connects with the towns people who regard him with hostility, he is forever the outsider
This is a mesmerizing film
Verdict: MP
@James Trapp- doing great on the study I see- sort of surprised to see the MP here
@Drake – I actually ended up downgrading to MS last night on my final notes section after grading Pickpocket (1959) I think “A Man Escaped” and “Pickpocket” as both clearly superior which means for Diary of a Country Priest to be a MP those would have to be huge MP, like top 50 all time which I don’t think they are (although amazing films none the less) When I did my Melville Study I did something similar. I initially thought Bob the Gambler (1956) and Le Deuxième Souffle (1966) were MP level films. I now think MS is the ceiling for both.
I still think very highly of Priest, but Bresson takes it up another level in Pickpocket and A Man Escaped
@James Trapp- all good, part of the process with evaluation – sort of the “relative to what” sort of. People assume something like a HR is something that doesn’t impress me – which almost couldn’t be further from the truth.
@Drake – Yes, I have learned that is one of the advantages of a director study, it makes it easier to more accurately calibrate a films quality. I am not saying there are a fixed number of potential MP but grading a film in isolation is definitely more challenging.
Les Dames du Bois de Boulogne (1945)
Notes:
Starts with couple in back of vehicle discussing complicated relationship
A Socialite named Helene (María Casares) learns her lover, Jean (Paul Bernard) wants to end their relationship.
Agnes (Elina Labourdette), an ex-prostitute
11 min camera pans slowly to right and zooms back
11:48 dancing woman in black hat and black dress
13:01 dissolve edit
15:28 slow zoom through glass door
20:40 doorway as frame
22:55 white dog contrasts with black clothing
25:11 dissolve
30:17 nice use of doors to frame shot
38:11 nice foreground/background work
40:29 zoom in Jean professing his love for Agnes
41:12 piano drowns out conversation with nice use of foreground/background
42:50 Helene and Jean in back of vehicle again just like the opening scene
46:42 nice blocking as Jean enters the room
47:40 dissolve
48:08 duper’s delight smile on Helene
54:30 slow zoom on Agnes
1:00:38 close up on hands writing letter
1:03:35 dissolve edit from cave to car
1:10:00 Helene continues cruel manipulations
1:15:35 Helene is black contrast with Agnes in white wedding dress
1:16:33 doorway used to frame shot
1:25:10 film ends with Jean and Agnes together
Thoughts:
Was not sure what my next Director Study was going to be and then I saw Robert Bresson with 9 films on Criterion for the month, so the choice became an easy one.
Melodrama with a dash of noir. Watching this is a bit of a shock since the only Bresson films I have seen are his later works that are practically devoid of emotion
Some impressive framing, in particular the use of doors and windows to frame shots
María Casares is very impressive with a sort of twists on the concept of a femme fatale, Helene’s manipulation reminded me of the John Dall character from Hitchcock’s Rope (1948) as Helene plays matchmaker and clearly enjoys holding power over others
Verdict: R/HR
All Robert Bresson movies on Criterion this month, suddenly my decision for next director study has become an easy one
@James Trapp- Excited to get your thoughts here – keep them coming please James
@Drake – thank you, yeah I have wanted to do Bresson for awhile but had trouble locating Diary of a Country Priest until now. Plus your major jump for L’Argent into the top 100 caught my eye.
@Drake – Have you seen The Devil Probably (1977). I just noticed it on the Criterion Channel
@James Trapp – me too- noticed the same thing. I’ve seen it. But it was a VHS copy if that tells you anything about how long ago
My ranking of Bresson`s films that I`ve seen:
1. A Man Escaped MP
2. Pickpocket MP (though I am considering MS)
3. L`Argent MS
4. Au Hasard Balthazar HR/MS
5. Diary of a Country Priest HR
6. Mouchette HR
@RujK- Timely share- thanks for sending- I just ran through 3 of these this week
@Drake- which ones were they, and have you changed any of your opinions on them? L’Argent?
@RujK- Au Hasard Balthazar, Mouchette and L’Argent in the past week- still processing a little- but no doubt L’Argent is the strongest
Just had a second viewing of Au Hasard Balthazar and still have it as a HR. I’m not sure if I’m missing something given it’s lofty status as a major masterpiece.
#25 on 2022 Sight and Sound Critics
#37 on 2022 Sight and Sound Directors
#29 on 2023 TSPDT
@Drake do you also still have it as a HR?
@LeBron Smith – I do, have not seen in more recently than the publishing of this 1966 page in 2021 https://thecinemaarchives.com/2021/03/14/1966/ .
Les Dames du Bois de Boulogne HR
Diary of a Country Priest MP
A Man Escaped MS
Pickpocket MP
The Trial of Joan of Arc R
Au hasard Balthazar MP
Mouchette MS
A Gentle Woman R
Four Nights of a Dreamer HR
Lancelot of the Lake HR
The Devil, Probably HR
L’Argent MP
@Hyland – just curious, where did you watch Country Priest? I’ve been trying to revisit that one but have had trouble locating it
Well I have bad news for you if you are only into legal ways of acquiring movies – I downloaded it from RARBG. I live in a country with no real piracy laws..
Does anyone know where I can find Diary of a Country Priest (1951).
Been wanting to revisit it after watch Paul Schrader’s excellent First Reformed (2017) but having trouble finding it.
Ill come up with an argument than. No. Bresson is not better than tarantino. Bressons simple style is very great influential but tarantino is past film art. He turned “movies” into art and his scripts, I mean I’m not convinced he isn’t the greatest screenwriter in history. Inglorious talking about movies to the fate talks in pulp fiction – amazing
@ M and Yikes– Thanks for the defense M– I shouldn’t have been so snarky with @Yikes. Sorry @Yikes.
Bresson is a brilliant filmmaker. I’ll just stay that I’ve studied both extensively and am confident in my ranking.
I will also say though that i didn’t rank them to create arguments like this (though it can be fun)– it was more intended to praise the work of the best directors (again not argue X is greater than Y). If they are both on the list– they are both great.
>robert bresson ranked lower than quentin tarantino
time to leave your website!
@Yikes— haha yep. It’s much easier to leave than to put together an argument.
I was gonna ask about if you had forgotten about Bresson or something lol. I get you’re placement though, I however am completely on board with TSPDT and would probably place him somewhere at the low end of my top 20.
@Leo– totally fair. I owe Bresson a film by film study– i’ve kind of plotted out which films i’m going to try to get to in 2019 but hopefully in 2020 I can do that. If i’m wrong about “Au hasard Balthazar” — that alone would change his ranking drastically.
@ Tupac– love the Star Wars request on the Bresson page– haha. Yes- i’m overdue to watch the Star Wars films- it’s been over 5 years which is far too long. I’ll put them in the queue to get to
Can you please do reviews for star wars 4 and 5.