Stanlio
23 jan 19
DeRank ™: 0,00
LES DAMES DU BOIS DE BOULOGNE de Robert BRESSON - Official trailer - 1945
Great proposal and well described, forgive me for pointing out a few inaccuracies or microscopic omissions, first and foremost the fact that this is not at all the second but rather the third "short film," if we want to call it that; the first two were: “Les affaires publiques” from 1934, around half an hour long, and “La conversa di Belfort” (Les Anges du péché) from 1943, approximately an hour and a half long.
I would say you fail to mention that the very well-crafted plot (since you dwell on it for a paragraph) of the film is adapted from the novel “Giacomo il fatalista e il suo padrone” (Jacques le Fataliste et son maître), written about 150 years earlier by Denis Diderot, a sort of philosophical dialogue (and well, it’s no coincidence that RB graduated in philosophy…) that is also characterized by its compositional technique.
You also don't clarify what you rightly define as the “singularity” and what “impressed you a lot” in Jean's (Paul Bernard) acting, which in short (I read online): what is striking about RB's cinema is the apparent absence of acting. In fact, he believed that by minimizing music, editing, and acting, more direct emotional responses from the audience could be achieved, since in traditional cinema, it was the actor, through their performance and facial expressions, who conveyed emotions to the viewer; in his cinema, it is the viewer themselves who must guess the emotional states of the protagonists according to the context they are in. RB typically hired ordinary people and filmed scene after scene until the acting completely disappeared, asking the actors to simply deliver their lines and perform the required actions, and nothing more—indeed, well done with 3 stars!
Great proposal and well described, forgive me for pointing out a few inaccuracies or microscopic omissions, first and foremost the fact that this is not at all the second but rather the third "short film," if we want to call it that; the first two were: “Les affaires publiques” from 1934, around half an hour long, and “La conversa di Belfort” (Les Anges du péché) from 1943, approximately an hour and a half long.
I would say you fail to mention that the very well-crafted plot (since you dwell on it for a paragraph) of the film is adapted from the novel “Giacomo il fatalista e il suo padrone” (Jacques le Fataliste et son maître), written about 150 years earlier by Denis Diderot, a sort of philosophical dialogue (and well, it’s no coincidence that RB graduated in philosophy…) that is also characterized by its compositional technique.
You also don't clarify what you rightly define as the “singularity” and what “impressed you a lot” in Jean's (Paul Bernard) acting, which in short (I read online): what is striking about RB's cinema is the apparent absence of acting. In fact, he believed that by minimizing music, editing, and acting, more direct emotional responses from the audience could be achieved, since in traditional cinema, it was the actor, through their performance and facial expressions, who conveyed emotions to the viewer; in his cinema, it is the viewer themselves who must guess the emotional states of the protagonists according to the context they are in. RB typically hired ordinary people and filmed scene after scene until the acting completely disappeared, asking the actors to simply deliver their lines and perform the required actions, and nothing more—indeed, well done with 3 stars!
DeBaser says
right now