Archive for Robert Bresson

Flame On

Posted in FILM with tags , , , , , , , on April 4, 2013 by dcairns

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Ever notice that the worst spoilers are those contained in movie titles? Wouldn’t we rather be surprised that THE GREAT GATSBY features a guy named Gatsby who some people think is pretty great? Wouldn’t we rather see DAYS OF WIND AND ROSES without knowing in advance that the action covers a time period greater than twenty-four hours, and that alcohol is imbibed? I would, and I’m not going to stop shouting about it until somebody does something.

While the first movie of DW Griffith (as actor), RESCUED FROM AN EAGLE’S NEST probably takes the biscuit, and long scholarly works have been devoted to pondering just what Robert Bresson was thinking of when he gave away the outcome of A MAN ESCAPED in the title A MAN ESCAPED, I think the 1909 epic NERO: OR THE FALL OF ROME bears favorable comparison with those dead giveaways. Rome falls, and Nero has something to do with it. And if you head over to The Forgotten, care of the Daily Notebook, I’ll give away the rest.

Sisters

Posted in FILM with tags , , , , , , , , , , , , on February 2, 2013 by dcairns

Spent all of Thursday thinking it was Wednesday and went in to work on Friday thinking it was Friday. Despite not even opening that bottle of vodka I bought. Probably a good thing I didn’t.

Here’s yesterday’s entry in Dwight Frye-days at Limerwrecks, on SON OF FRANKENSTEIN. And so –

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LES ANGES DU PECHE, Robert Bresson’s nunsploitation film? Well, the title, ANGELS OF SIN is a fantastic one — Nigel Wingrove should recycle it for one of his softcore habits-and-tits films. The film itself is something else.

Bresson’s style is still at an early stage of evolution, which means he hadn’t yet eliminated everything he didn’t like, or modified everything he didn’t quite like — the movie is more like a traditional one of the period (1943), albeit a particularly elegant and tasteful one. And it has actors, not models, in the lead roles, including the brittle Jany Holt, who was leading a double life at this time, acting by day and working for the resistance by night. Her sharply-sculpted face, often chic, is here useful to suggest frosty, hard-bitten cynicism.

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She plays a woman framed for a crime she didn’t commit who resolves to kill the man who framed her. Bresson gives her a gun-buying scene to compare with Cagney’s in THE PUBLIC ENEMY or Schwartzenegger’s in THE TERMINATOR. “This is the best. It takes six bullets. Six more in the extra clip. Will that be enough?” Jany replies: “If it isn’t, I’ll come back.” Which fills the mind’s eye with the cold-blooded image of her plugging her betrayer twelve times, noticing some vestigial respiration in the ventilated form, and calmly returning to the store to buy another round, then strolling back and perforating him again. It doesn’t happen that way in reality, of course.

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Meanwhile, Renee Faure, a young novice, has become obsessed with saving Holt’s soul, and invites her to join the convent, which welcomes women with a shady past (the first scene shows the Mother Superior and her cronies planning to collect a parolee from under the nose of her pimp, the whole operation planned like a heist or a military raid–gripping stuff!). Holt moves in to the nunnery as a way of hiding from the law, but resents the way her would-be-rescuer sees her as some kind of personal project. She resolves to destroy Faure rather than be saved by her.

When John Boorman unwisely undertook EXORCIST II: THE HERETIC, he said that rather than making a horror movie he wanted to make a theological thriller. Ignoring the fact that Friedkin’s original already is that, at least to an extent. Boorman made a gloriously silly film. When Paul Schrader unwisely undertook the film that, incredibly, wound up entitled DOMINION: PREQUEL TO THE EXORCIST, he acknowledged that the first film had powerfully visualized the struggle for a soul (albeit in somewhat corporeal terms).

But Bresson’s film does all that much more simply, without the distraction of pea soup — it’s a really exciting movie, as exciting as PICKPOCKET though less mature in Bresson’s style, and even though I regard the business of marrying Christ with a certain amount of horror, I was able to get into it and see it from the point of view of the sisters. It’s a point of view that sees salvation as more important than life itself, which I always struggle with a bit, but this is one of the more compelling dramatic uses of the idea I’ve seen.

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Cinematographer Philipe Agostini also shot part of Ophuls’ LE PLAISIR, and all of Dassin’s RIFIFI, Carne’s LES PORTES DE LA NUIT, Duvivier’s UN CARNET DU BAL.

Strange to see Bresson so much part of the mainstream at this point. I enjoyed this so much I’m resolved to try LES DAMES DU BOIS DU BOULOGNE without delay.

You can buy it: Angels Of Sin / Les anges du péché / Angels of the Streets (1943) Region 1, 2, 3, 4, 5, 6 Compatible [DVD]

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