With the costumes and acting), and provokes laughter instead of the more appropriate tears. The "dramatic spring" of the plot is "completely false" (along Negative review: "A head without a heart, a spirit without a soul". Néry, Jean, 'Les Spectacles: Le cinéma: 'Lesĭames du Bois de Boulogne', Le Monde (30 September - 1 October), 3 Of the French cinema's continuing "nourishment of high ambitions and confidence in the intelligence of the public". Review that describes the film as cold and too abstract, but admires the stylistic unity that Bresson has imposed. Marion, Denis, 'Les Spectacles: 'Les Dames du Bois de Boulogne', Combat (26 September), 2 In a roundup of recent films, Les Dames du Bois de Boulogne is given a paragraph of summary and found to be "a little boring". La Croix, Jean-Yves, 'Le Cinéma', Esprit 13 (December), 988-989 Story is of little interest and "unfortunately" directed by Bresson, whose great care in filming has resulted in a work that "seems oily, and a Review of Les Dames du Bois de Boulogne: The female leads give good performances and the film is admirably shot, but the That this "strangeness" is one of the main components of the film's entirely "new style," which "owes nothing to any other person orĪny other films." Becker's heartfelt praise appears to be the first important public defense of Bresson's art.Ĭhamine, 'Le Cinéma', La NEF 2, no. "who come and go, look, sit, rise, go up and down stairs, take the elevator, and exchange laconic words in a strange language," by saying He counters the complaints of a poorly motivated script and characters Review (see entry 20) of Les Dames du Bois de Boulogne. Of the functions of most who worked on the film (including Maria Casarès and Raoul Ploquin), as well as detailed accounts ofĮach day's shooting and the exchanges that took place between Bresson and the actors and crew.īarrot, Jean Pierre, 'Les Dames du Bois de Boulogne', L'Ecran Français 13Ī primarily literary review that blames the failure of the film on a weak script (the origin of which is traced back to the originalĭiderot story) and the "unreal literary sound" of the Cocteau dialogue.īecker, Jacques, 'Hommage à Robert Bresson', L'Ecran Français 16 (17 October), 3,īecker, the film director, explains that he does not usually write about films, but feels compelled to respond to a previously Also includes interviews with and lengthy descriptions In any case, but enjoyed the discipline of doing something against his inclinations. That he did the film only out of friendship for Bresson, having no sympathy for Diderot or the subject matter. Includes an interview with Jean Cocteau, who declares Journalistic account of the making of Les Dames du Bois de Boulogne. Guth, Paul, Autour des 'Dames du Bois de Boulogne': journal d'un film, Paris: Juillard, 197 pp. Kedeland, 'Le Cas de Robert Bresson', Comoedia 156 Brückberger) and the curious interplay among these realistic details, but criticized for Giraudoux's artificial dialogue and an "insipid" plot. Its documentary-like details of convent life (credited to the inside knowledge of R.P. Les Anges du péché is discussed in a roundup of recent successes. Jaquier, Claude, 'Le Cinéma', Confluences 3, no. Unnatural acting that leaves the audience too uninvolved, and dialogue that "seems to have been conceived independently of the visualĮffects." But he admires it, too, and compares it to Chaplin's films, which "go beyond race and class" through the use of a "universal language."Īffaires publiques, though hermetic, is never affected it "dares" to be serious and so succeeds in being provoking.Īudiberti, Jacques, ,Ĭited in entry 75. Leenhardt criticizes it for having a "hesitant point of view", The only contemporary review of this lost film that I was able to locate. Leenhardt, Roger, 'Le Cinéma: 'Affaires publiques'',
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