By André Bazin, Phil Hardy, Raymond Durgnat, Charles Barr, Daniel Millar, Amédée Ayfre, Leo Murray

"There is just not more interesting and scholarly quantity on Bresson out there."

A tremendous research of Bresson's movies, with essays via a number of very important movie students, together with André Bazin and Raymond Durgnat. Profusely illustrated, and an immense paintings in this influential director. is going up and contains « Mouchette ».

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Son‘s former works leaves us with closed statements concerning the destiny of guy in a fallen international. the matter with which Une I1‘/nnte iloure provides us is of reading it in this kind of manner that the top product is neither easily the bottom universal denominator of Bresson's lms‘ nor a reductivist cliche. there are various beginning issues from which to continue: for instance. color — L'nv fcnnne Jone: is Bresson'\ rst color lm. however the most blatant is to distinction the lm with l)ostoie\'sky's novella on which it's established. This has a definite doubtful authority in that to some degree it mttst were Bresson's place to begin. extra vital. this system has some time past ended in beneficial analyses of Bresson's lm tel‘. Bazin‘s e. s. sa_\' on Lt'jo! u‘na/ Still:/itlsbmid 1 (:'u_\' I-“raugiu l umizt-:_'fe I)ontt'tti4ue Srltfal in Une femme douce. . i1't1:1rt/rill: cu/nftagnrl. Like Le magazine. l't1e_/en:/rte ilottce provides us with a translation into lm that's subversiycly trustworthy to the unique. In his relocation of the novella in time and position. Bresson has faithfully rendered a few of the pictures. the narrative strttcture and masses of the dialog. The adjustments which were made are hence doubly signicant. ln basic. at any time when l)ttst0lc\‘sl~()’ leaves us in doubtless ofthe ‘meaning‘ ofevents and oilers tts symptoms the best way to learn the symbols. Bresson consistently denies us walk in the park and rcn'|o\‘es those symptoms. hence. in Rresson the woman has no different suitor than the pawnbrokcr; her collection of marrying him is remoted from social pressures. equally. the pawnl1roker‘s prior. that is concrete either in which means and outline in Dostoievsky. is shadowed o\'er and made insubstantial in Bresson. . -\t an analogous time. Bresson. by means of the hareness of the referential worth of the pawnbroker's previous visible when it comes to Fmtfetlttrtv Jnucc, refers us hack to I’t'rk/me/cc! — notice the actual resemhlanceofGu_\' Frangin to Martin Lassalle. That lm. regardless of its shut ‘ainities with Crime and I’m1i. tlnmvt! ' ‘Daniel Millar. p. X21 offers yet one more instance of the space bet\\'een l¥res. son's and l)ostoie\'sk_\". s issues. except the presence of the spouse as a personality — in Dostoievsky she is simply a corpse - and the creation ofthe ‘lIamIet‘ series, the 2 different big alterations are within the signicance of the husband nding his spouse with one other guy. and in Bresson's substitution of the white scarf for the icon. within the lm, i \ Dostoievsl

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