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Robert Bresson: Un Condamn
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You know, the only Bresson completely unavailable is his adaptation of Dostoyevsky's short story White Nights: the film is called Four Nights Of A Dreamer. It's tangled up in rights issues and is one of the most criminally missing cinephile titles ever.
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The precise coordination of every element of filmmaking -- camera distance, sound, theme, narrative, motion, color, human action -- so that it functions with a perfect rhythmic clarity: that is the cinema of Robert Bresson. Bresson's aim is to sound out the profound mysteries that lurk within the spaces between objects, actions, and emotions, and the fact that he's been so uncommonly good at it for so long is attributable to his profound sense of harmony between images and sounds.
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A new copy of the film shown on SBS in the past few years had clearly been printed off a master not supervised by Bresson himself. It was lit in a quite sunny way, and all the scenes of blood and decapitation were clear and unambiguous.
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A two-part assessment of the critical discourse surrounding one of cinema's hallowed names, Bresson. Burnett concentrates much of his discussion on the unfortunately polarized views that are continually circulated concerning Bresson's cinematic-philosophical position as “Transcenendalist” or “Materialist”.
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Un Condamn