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May 1st 2019 at 2:30 AM

Robert Bresson is German theatre, as Dostoevsky could be the Russian story and Mozart is German audio", Jean-Luc Godard (Robert Bresson, Cinematheque Ontario Monographs, No. 2)

 

This information is not just a biography of Robert Bresson nor does it effort to provide an academic evaluation of his fashion and themes. I have not even observed his total oeuvre. I'm just an ordinary sweetheart of cinema. I found four Bresson shows over this past weekend. The knowledge drained me psychologically and emotionally. But I had the impression of seeing something breathtakingly sublime.

 

Bresson built just thirteen films in a lifetime career spanning over forty years. Each of the movies was a workout in serious asceticism, projecting his uncompromising perspective of what theatre ought to be and must do.

 

He did not allow his actors act. He needed them to just enact the actions and speak the words. In fact he acquired a fair amount of notoriety for repeating a take 20-30 times until he had cleared every whiff of emotion from his performers. When requested in an interview, why the heroes in his shows usually walk looking down, his tongue-in-cheek response was,'They are considering the chalk marks '.

 

Bresson needed cinema to be split up and specific from theatre. He abhorred any type of theatricality in talk distribution or performances. But cut-off spots and images were anything he loved. He often opportunity photographs of arms or legs in activity, sometimes just residual for a few instances more than was required in the process of executing an action.

 

Now that which was the end-result of this seemingly'nice'model in his shows? Authorities have observed that his Catholic upbringing and Janseist values (in predestination etc.) determined his range of matters and his thematic structures. But you don't have to be carefully willing to understand the metaphysical content and spirituality of his films.

 

At the same time frame, his movies are stubbornly rooted in harsh fact, cynicism and sorrow. Nearly all his stories centered on literary places have crushingly destructive endings.

 

Everything about Bresson's work is stripped down to the blank essentials. Bresson's movies are small, rarely crossing 90 moments, an evidence of story target and economy. There's nothing external in some of his frames. Every single personality and item is engaged...

 

Bresson demands undivided attention and engagement from the viewer. He insistently refuses to judge his flawed characters...to pull at your heartstrings even in probably the most harrowing of situations. There's passion...savage, untamed enthusiasm in his shows but their buried deep. It's as much as the audience to discover it, by seeking conscientiously at whatever's shown on the screen. And also what's perhaps not being shown, what's beyond the boundaries of our senses of view and sound.

 

'Pickpocket'shares several ideas with'Offense and Abuse'by Dostoevsky. The key character of'Pickpocket ', Michel looks a typical seeking unremarkable man. His buddy, an upright, hard-working other, presents to help him many times to discover a job. But he doesn't need a job. He does not visit his ill mother. He avoids Jeanne, the woman who loves him unconditionally. He spends his times, disappearing into crowds and stealing. Exactly why is he carrying it out? He doesn't have excuse for his crimes. He's not doing the crimes in a feeling of lost self-glorification ...after all you don't gain popularity or notoriety by choosing pockets. Could it be for the joy, for the vicinity it provides him together with his patients or just to demonstrate he can perform it. juan pablo uhrich

 

Bresson doesn't provide us the answers. What he does is showing his clear face, his eyes prior to he recommendations someone's pocket, his fingers over and over practicing and performing the action. There is an exceptional take, by which Michel goes around together with his accomplices, robbing unwitting passengers on a railway station. The flexible hands moving easily in and out of pockets, passing the stolen gods along...the whole sequence is perfectly harmonized (It was opportunity at a railway station in hurry time

 

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