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Robert Bresson: Movies
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In 1975, Bresson published Notes sur le Cinématographe (most commonly translated as "notes on cinematography"), in which he argues for a unique sense of the term, "cinematography". For Bresson, cinematography is the higher function of cinema. Whereas a movie is in essence "only" filmed theatre, cinematography is an attempt to create a new language of moving images and sounds.
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For the most part, Bresson employed only amateur actors. He avoided histrionics and seldom permitted his "models" (as he called them, drawing a metaphor from painting) to give a traditional performance. The emotional tensions of the films derive from the elaborate interchange of glances, subtle camera movements, offscreen sounds, carefully placed bits of baroque and classical music, and rhythmical editing.
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Bresson's films could be very moving as well. In ``Au Hasard, Balthazar'' (By Chance, Balthazar, 1966), the lives and vices of a number of persons are seen through the eyes of a dumb beast, a donkey that passes through their hands.
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Mr. Bresson nonetheless posed complex emotional and spiritual problems in his movies, some of which he wrote himself, often by confronting tragic lives and situations with a distant hope of redemption. At times seemingly struggling with his own faith he was known to some French critics as ''a dark Catholic.'' But he rarely favored them with an explanation: once he had completed a movie, he preferred it to speak for itself.
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