Underappreciated: Robert Bresson

Robert Bresson

 

 

Today we are exploring one of my favorite directors from the 20th century. Don't feel bad if you haven't heard of him. He's not all that popular in America...why, I'll never know...

 

The first time anyone exposed me to the work of this delicious French auteur, my mind was blown before the film ended. I'd never seen anything so utterly compelling, suspenseful, taut (to the point of ripping fingernails off) and riveting...all while barely moving the camera!? Whaaaaa?

 

Don't get me wrong: when I came to the Bresson party, I thought I was a master of suspense. I'd seen it all. I'd studied the core directors to the brink of madness - yet somehow missed Bresson. While tension and drama are simple techniques to film - tackling these activities with little to no movement is oddly addictive. Rather than prattle on about how great I think Bresson is - let's dive right into the five films you need to see in order to say you've lived a full life:

 

 

 

 

5) "L'ARGENT" ("The Money"/1983): Bresson's final film, it is a nice entry point for anyone unfamiliar with the French style of filmmaking. This isn't the best example of why I love Bresson, but it stands as a bookend to one of the most remarkable lives ever lived.

This movie captures all the things that make Bresson films wonderful while delivering it in color - which seems to make some people much happier. The film stars one of my favorite French boys (Christian Patey) in a role that keeps your heart racing until the final moments. This film was awarded the Director's Prize at Cannes in 1983 as well as Best Director at the 1983 National Society Film Critics' Award, so it's good - see? While not the BEST film of Bresson's career - it's definitely worth seeing because it is how the master said goodbye to the world of moviemaking. Goodbye's are always worth watching. You only get one. Make it count.

 

 

 

4) "UN CONDAMNE A MORT S'EST ECHAPPE OU LE VENT SOUFFLE OU IL VEUT" ("A Man Escaped" / 1956): Now we're talking: you watch this - you will see...This is (in my opinion) the weakest of the films Bresson directed during his "classic period." Slapped right between some of his masterpieces, this film stands the test of time. You think, "Oh, a prison break movie? Blah!" and then you press play...the next thing you know, you're sweaty, having chest pains and react like a maniac

everytime someone knocks on your door. This black & white goodie starts with the opening titles, cinching the knot of tension until you are literally on your feet. Watching this slow, plodding, meticulous plot play out would seem to be something impeccably boring ... but it's the opposite. Don't get me wrong, I can speak volumes on the "prison break" film - but no matter how much I spoke, this film would always take the lead. Yes, it's even better than Bridge/Kwai and yeah...even Papillon. Don't believe me? I don't care. Go see this film. I dare you to watch 3 minutes and turn it off - you know why? Because it's impossible...no one can stop a Bresson film once it begins. Not even those wacky Nazis...

 

 

 

 

3) "MOUCHETTE" ("Mouchette" / 1967): Now...we're...talking!! Considered by many to be Bresson's masterpiece, "Mouchette" blew people's minds upon its initial release in the caustic late 60's. I'd describe this film, but I would never be able to do it justice. The gist is that it is a coming of age film. The difference between this and the other five hundred thousand coming of age films is that...it's just so damn tragic! The lead role went to Nadine Nortier, who's face alone can bleed tears from a statue. Watching this heroine learn about adulthood while being bullied by her alcoholic father, ridiculed by her peers and chastised by her teacher. Then her Mother dies and things get REALLY bad. This film is beautiful. Simply...beautiful. The acting is sublime, the dialogue will rip your guts out of your nostrils and you'll gasp at the final seconds (which I kindly supplied in this link...oh yeah, spoiler alert & stuff). Probably one of the best films about sorrow that's ever been made - you will absolutely need to view this in order to consider yourself a Bresson fan. But wait...there's more...

 

 

2) "AU HASARD BALTHAZAR" ("Balthazar, At Random" / 1966): Right before Mouchette, came Balthazar. Y'all...I can barely contain myself when I talk about this, so bear with me. Balthazar causes severe movie geekery to erupt. I apologize in advance. But...OH MY GAWD! This donkey ruined my life!!! Go ahead, laugh it up. You read the synopsis on the back of the DVD and think - what? Someone made a movie about a donkey? There MUST be more to it than that...but no, it's 90 minutes of IMPECCABLE donkey-ness. You've never seen anything like this. The ultimate amount of tears you'll shed...well, let's call this one a "three hankie" film. This donkey, Balthazar, is sold, traded, found, lost and hunted all while muddling through life in rural France. The symbolism is deep. According to James Quandt, this "brief, elliptical tale about the life and death of a donkey" has exquisite renderings of pain and abasement" and "compendiums of cruelty" that tell a powerful spiritual message. Be prepared to dig into this one - because you'll find loads to go on. The donkey, to me - is a symbol for man. I don't know. I've seen it 100x and still really just love this damn donkey. I can't talk about the ending. I just can't...

 

 

 

 

1) "PICKPOCKET" (1959): And this ... is simply perfection on film. What is this? Is it a crime thriller? Is it a symbolic tale of man's existential woes? Is it a romance? Is it a murder mystery? What the hell IS this?

Answer: It's fabulousness. This movie beats the ass of Hitchcock...beats it hard. Filmed at the beginning of Bresson's power years, this ballet is unveiled as you watch a (dazzlingly handsome) Martin LaSalle go about his life as a pickpocket. He trains his fingers. He digs in pockets. He glares at people on the subway. He walks. He smokes like a boss. He stands in doorways and stares...but the end result is possibly one of the most poetic and visually alarming films of the 50's/60's. I have watched this film hundreds of times and it remains a classic. The slow, steady pace as you watch this character fall apart is insanely addictive. I realize other critics would beat me with a stick for placing this film above Mouchette & Balthazar - but to me, it's the best.

 

 

That ends today's trip back in time. Take the rest of your day to go enjoy a fine old French film. Um...that wasn't a request as much as an order. Okay see - you're still here reading...stop already! Don't you listen? Okay, I'll help...click this to help you on your way...