Yes Gary, this is news. It will be great to add another Bresson to my
collection. I've seen 'Le
Diable..' only once, a very long time ago, and I am afraid that in my mind the
movie has
merged in a way with the other elusive Bresson, Quatre Nuits ...
I other words: i'm very curious whether this film is on a par with, say,
L'Argent.


--- In bresson-no-spam@yahoogroups.com, "Gary W Tooze" <gary@...> wrote:
>
> In case this is news.. AE in the UK will be releasing Bresson's The Devil,
> Probably on April 21st, 2008 (on DVD).
>
> Best,
>
> Gary
>

FABULOUS!


--- Gary W Tooze <gary@...> wrote:

> In case this is news.. AE in the UK will be
> releasing Bresson's The Devil,
> Probably on April 21st, 2008 (on DVD).
>
> Best,
>
> Gary
>
>
>
>



      
________________________________________________________________________________\
____
Never miss a thing.  Make Yahoo your home page.
http://www.yahoo.com/r/hs

Please do.

Shmuel Ben-Gad,
Gelman Library,
George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater."
--Haldir of Lothlorien

----- Original Message -----
From: David Ehrenstein <cellar47@yahoo.com>
Date: Sunday, December 9, 2007 6:36 pm
Subject: Re: [bresson-no-spam] Re: Diary of a Country Priest
To: bresson-no-spam@yahoogroups.com

> A copy is on its way to me in the mail. I'll let you
> know.
> --- Shmuel Ben-Gad <shmuelb@gwu.edu> wrote:
>
> > Have you read it? What is it like.? I never heard
> > of it before, i must confess.
> >
> > Shmuel Ben-Gad,
> > Gelman Library,
> > George Washington University.
> >
> > "The world is indeed full of peril, and in it there
> > are many dark places; but still there is much that
> > is fair, and though in all lands love is now mingled
> > with grief, it grows perhaps the greater."
> > --Haldir of Lothlorien
> >
> >
> > ----- Original Message -----
> > From: David Ehrenstein <cellar47@yahoo.com>
> > Date: Sunday, December 9, 2007 10:59 am
> > Subject: Re: [bresson-no-spam] Re: Diary of a
> > Country Priest
> > To: bresson-no-spam@yahoogroups.com
> >
> >
> > > She's pretty bizare. And testy too.
> > >
> > > Blew a gasket when Anne Wiazemsky published her
> > roman
> > > a clef, "Jeune Fille," about the shooting of "Au
> > > Hasard Balthazar."
> > >
> > > --- Shmuel Ben-Gad <shmuelb@gwu.edu> wrote:
> > >
> > > > Please explain, if youknow, why Madame Bresson
> > does
> > > > not want Une Femme Douce and Quatre Nuits i
> > dvd. It
> > > > seesm bizarre.
> > > >
> > > > Shmuel Ben-Gad,
> > > > Gelman Library,
> > > > George Washington University.
> > > >
> > > > "The world is indeed full of peril, and in it
> > there
> > > > are many dark places; but still there is much
> > that
> > > > is fair, and though in all lands love is now
> > mingled
> > > > with grief, it grows perhaps the greater."
> > > > --Haldir of Lothlorien
> > > >
> > > >
> > > > ----- Original Message -----
> > > > From: Matt Lee <mattofgypsies@yahoo.com.au>
> > > > Date: Saturday, December 8, 2007 5:11 pm
> > > > Subject: Re: [bresson-no-spam] Re: Diary of a
> > > > Country Priest
> > > > To: bresson-no-spam@yahoogroups.com
> > > >
> > > >
> > > > >
> > > > > Re: his colour films, I do understand how
> > you
> > > > find them different
> > > > > from his
> > > > > earlier works; to me they are colder and
> > less
> > > > inviting, however no
> > > > > less brilliant.
> > > > > You should really try “L’Argent” again; it
> > is the
> > > > film in which he perfected
> > > > > his cinematic techniques.
> > > > >
> > > > >
> > > > >
> > > > > Re: "Four Nights of a Dreamer" on DVD/VHS.
> > Both
> > > > "Four
> > > > > Nights" and "A Gentle Woman" have yet to be
> > > > released on DVD due
> > > > > to the request of Bresson's widower, however
> > both
> > > > were released on
> > > > > VHS in USA
> > > > > by New Yorker and you can probably find them
> > on
> > > > eBay.
> > > > >
> > > > >
> > > > >
> > > > >
> > > > > ----- Original Message ----
> > > > > From: David Ehrenstein <cellar47@yahoo.com>
> > > > > To: bresson-no-spam@yahoogroups.com
> > > > > Sent: Sunday, 9 December, 2007 1:02:53 AM
> > > > > Subject: Re: [bresson-no-spam] Re: Diary of
> > a
> > > > Country Priest
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > >
> > > > > If you're looking for
> > "expression' in
> > > > Bresson via the
> > > > >
> > > > > faces of his models then you have the wrong
> > > > filmmaker.
> > > > >
> > > > > With Boresson it's the ENTIRE BODY not the
> > face
> > > > that's
> > > > >
> > > > > used as an expresive resource. And I
> > couldn't
> > > > disagree
> > > > >
> > > > > more about Breson's poetics. The sequence in
> > > > which the
> > > > >
> > > > > title is evoked in "Le Diable Probablement"
> > is
> > > > created
> > > > >
> > > > > from the purest audio-visual poetry
> > imaginable.
> > > > >
> > > > >
> > > > >
> > > > > --- Paul <forlino@.... com> wrote:
> > > > >
> > > > >
> > > > >
> > > > > > Yes, I do understand what you mean,
> > absolutely,
> > > > and
> > > > >
> > > > > > it's a point well
> > > > >
> > > > > > taken, although a director (any artist)
> > can go
> > > > to an
> > > > >
> > > > > > extreme, which
> > > > >
> > > > > > is what I feel Bresson started to do more
> > and
> > > > more
> > > > >
> > > > > > and his films also
> > > > >
> > > > > > began to show less of a "poetic" feel in
> > his
> > > > imagery
> > > > >
> > > > > > and his editing
> > > > >
> > > > > > became more deliberately and consciously
> > > > abrupt. I
> > > > >
> > > > > > could at least
> > > > >
> > > > > > discern some sadness in Mouchette's
> > expression
> > > > at
> > > > >
> > > > > > times, and both
> > > > >
> > > > > > sadness and anguish in Claude Laydu's face
> > in
> > > > >
> > > > > > "Diary", even though
> > > > >
> > > > > > neither of them was "acting" in a very
> > > > emotional
> > > > >
> > > > > > manner. ..That
> > > > >
> > > > > > interview you mentioned is - I THINK --
> > the one
> > > > that
> > > > >
> > > > > > I've seen before
> > > > >
> > > > > > (indicates 1960) where the first shot is
> > that
> > > > of
> > > > >
> > > > > > three empty chairs.
> > > > >
> > > > > > It's a rather strange interview ---
> > whether it
> >
> === message truncated ===
>
>
>
> __________________________________________________________
> Be a better friend, newshound, and
> know-it-all with Yahoo! Mobile. Try it now.
>
>
>
>
> Yahoo! Groups Links
>
>
>

Thank you, Mr. Lee.  I doubted whether she was opposed in principle to the films being released on DVD and am glad to see you confirm that.  Would you please tell us what Madame Bresson's response to the roman a clef was, or where we might find it?

     Shmuel Ben-Gad,                       
     Gelman Library,
     George Washington University. 

"The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater."
            --Haldir of Lothlorien


----- Original Message -----
From: Matt Lee <mattofgypsies@...>
Date: Monday, December 10, 2007 2:52 am
Subject: Re: [bresson-no-spam] Re: Diary of a Country Priest
To: bresson-no-spam@yahoogroups.com


> Regarding Mme Bresson - it's not she does not want those films shown
> (in fact they were shown recently at a Bresson tribute in Britain
> which she attended), it's just that she has not found prints that she
> finds suitable for DVD. The first DVD releases of Pickpocket etc. by
> M2K were all done under her supervision.
> 
>  Bresson lived a very private life which is why not a lot is known
> about his life, so she is actually respecting her late husband's
> wishes by not allowing an official biography. I have not read Anne
> Wiazemsky's book, but I have heard about it and Mme Bresson's angry
> response.
> 
>  I guess another reason why Mme Bresson is bitter towards Ms.
> Wiazemsky is because she acted in many more films after Au Hasard
> Balthazar (most for her then husband Godard). Bresson was saddedened
> when his actors did do other films and became recognisable, for
> another example, Dominque Sanda.
> 
>  Matt
>  ----- Original Message ----
>  From: David Ehrenstein <cellar47@...>
>  To: bresson-no-spam@yahoogroups.com
>  Sent: Monday, 10 December, 2007 2:59:16 AM
>  Subject: Re: [bresson-no-spam] Re: Diary of a Country Priest
> 
> 
> 
> 
> 
> 
> 
> 
> 
>   
> 
> 
>     
>              She's pretty bizare. And testy too.
> 
> 
> 
>  Blew a gasket when Anne Wiazemsky published her roman
> 
>  a clef, "Jeune Fille," about the shooting of "Au
> 
>  Hasard Balthazar."
> 
> 
> 
>  --- Shmuel Ben-Gad <shmuelb@gwu. edu> wrote:
> 
> 
> 
>  > Please explain, if youknow, why Madame Bresson does
> 
>  > not want Une Femme Douce and Quatre Nuits i dvd.  It
> 
>  > seesm bizarre.
> 
>  >
> 
>  >      Shmuel Ben-Gad,                       
> 
>  >      Gelman Library,
> 
>  >      George Washington University. 
> 
>  >
> 
>  > "The world is indeed full of peril, and in it there
> 
>  > are many dark places; but still there is much that
> 
>  > is fair, and though in all lands love is now mingled
> 
>  > with grief, it grows perhaps the greater."
> 
>  >             --Haldir of Lothlorien
> 
>  >
> 
>  >
> 
>  > ----- Original Message -----
> 
>  > From: Matt Lee <mattofgypsies@ yahoo.com. au>
> 
>  > Date: Saturday, December 8, 2007 5:11 pm
> 
>  > Subject: Re: [bresson-no- spam] Re: Diary of a
> 
>  > Country Priest
> 
>  > To: bresson-no-spam@ yahoogroups. com
> 
>  >
> 
>  >
> 
>  > > 
> 
>  > >  Re: his colour films, I do understand how you
> 
>  > find them different
> 
>  > > from his
> 
>  > >  earlier works; to me they are colder and less
> 
>  > inviting, however no
> 
>  > > less brilliant.
> 
>  > >  You should really try “L’Argent” again; it is the
> 
>  > film in which he perfected
> 
>  > >  his cinematic techniques.
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > >  Re: "Four Nights of a Dreamer" on DVD/VHS. Both
> 
>  > "Four
> 
>  > >  Nights" and "A Gentle Woman" have yet to be
> 
>  > released on DVD due
> 
>  > >  to the request of Bresson's widower, however both
> 
>  > were released on
> 
>  > > VHS in USA
> 
>  > >  by New Yorker and you can probably find them on
> 
>  > eBay.
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > >  ----- Original Message ----
> 
>  > >  From: David Ehrenstein <cellar47@yahoo. com>
> 
>  > >  To: bresson-no-spam@ yahoogroups. com
> 
>  > >  Sent: Sunday, 9 December, 2007 1:02:53 AM
> 
>  > >  Subject: Re: [bresson-no- spam] Re: Diary of a
> 
>  > Country Priest
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > >   
> 
>  > > 
> 
>  > > 
> 
>  > >     
> 
>  > >              If you're looking for "expression' in
> 
>  > Bresson via the
> 
>  > > 
> 
>  > >  faces of his models then you have the wrong
> 
>  > filmmaker.
> 
>  > > 
> 
>  > >  With Boresson it's the ENTIRE BODY not the face
> 
>  > that's
> 
>  > > 
> 
>  > >  used as an expresive resource. And I couldn't
> 
>  > disagree
> 
>  > > 
> 
>  > >  more about Breson's poetics. The sequence in
> 
>  > which the
> 
>  > > 
> 
>  > >  title is evoked in "Le Diable Probablement" is
> 
>  > created
> 
>  > > 
> 
>  > >  from the purest audio-visual poetry imaginable.
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > >  --- Paul <forlino@.... com> wrote:
> 
>  > > 
> 
>  > > 
> 
>  > > 
> 
>  > >  > Yes, I do understand what you mean, absolutely,
> 
>  > and
> 
>  > > 
> 
>  > >  > it's a point well
> 
>  > > 
> 
>  > >  > taken, although a director (any artist) can go
> 
>  > to an
> 
>  > > 
> 
>  > >  > extreme, which
> 
>  > > 
> 
>  > >  > is what I feel Bresson started to do more and
> 
>  > more
> 
>  > > 
> 
>  > >  > and his films also
> 
>  > > 
> 
>  > >  > began to show less of a "poetic" feel in his
> 
>  > imagery
> 
>  > > 
> 
>  > >  > and his editing
> 
>  > > 
> 
>  > >  > became more deliberately and consciously
> 
>  > abrupt.  I
> 
>  > > 
> 
>  > >  > could at least
> 
>  > > 
> 
>  > >  > discern some sadness in Mouchette's expression
> 
>  > at
> 
>  > > 
> 
>  > >  > times, and both
> 
>  > > 
> 
>  > >  > sadness and anguish in Claude Laydu's face in
> 
>  > > 
> 
>  > >  > "Diary", even though
> 
>  > > 
> 
>  > >  > neither of them was "acting" in a very
> 
>  > emotional
> 
>  > > 
> 
>  > >  > manner.  ..That
> 
>  > > 
> 
>  > >  > interview you mentioned is - I THINK -- the one
> 
>  > that
> 
>  > > 
> 
>  > >  > I've seen before
> 
>  > > 
> 
>  > >  > (indicates 1960) where the first shot is that
> 
>  > of
> 
>  > > 
> 
>  > >  > three empty chairs. 
> 
>  > > 
> 
>  > >  > It's a rather strange interview --- whether it
> 
>  > was
> 
>  > > 
> 
>  > >  > produced purposely
> 
>  > > 
> 
>  > >  > with mock, 'tongue-in-cheek' seriousness or
> 
>  > not, I
> 
>  > > 
> 
>  > >  > don't know -- but
> 
>  > > 
> 
>  > >  > I'm wondering if it might have been a sort of
> 
>  > gentle
> 
>  > > 
> 
>  > >  > parody (just for
> 
>  > > 
> 
>  > >  > fun, and yet still with great admiration) of
> 
>  > > 
> 
>  > >  > Bresson's own unique,
> 
>  > > 
> 
>  > >  > seemingly cold, unemotional( !) directorial
> 
>  > style,
> 
>  > > 
> 
>  > >  > while still at the
> 
>  > > 
> 
>  > >  > same time being a series of serious questions
> 
>  > for
> 
>  > > 
> 
>  > >  > him.  Or maybe I'm
> 
>  > > 
> 
>  > >  > just imagining things.
> 
>  > > 
> 
>  > >  >
> 
>  > > 
> 
>  > >  > Paul
> 
>  > > 
> 
>  > >  >
> 
>  > > 
> 
>  > >  >
> 
>  > > 
> 
>  > >  > --- In bresson-no-spam@ yahoogroups. com, David
> 
>  >
> 
>  > > 
> 
>  > >  > Ehrenstein
> 
>  > > 
> 
>  > >  > <cellar47@.. .> wrote:
> 
>  > > 
> 
>  > >  > >
> 
>  > > 
> 
>  > >  > > There's a difference between "not acting
> 
>  > > 
> 
>  > >  > emotional" and "acting
> 
>  > > 
> 
>  > >  > emotionless. "  Bresson's models are the
> 
>  > former.
> 
>  > > 
> 
>  > >  > >
> 
>  > > 
> 
>  > >  > > There's also an interview with Bresson at the
> 
>  > time
> 
>  === message truncated ===
> 
> 
> 
>  ____________ _________ _________ _________ _________ _________ _
> 
>  Be a better friend, newshound, and
> 
>  know-it-all with Yahoo! Mobile.  Try it now.   yahoo.com/
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> 
> 
> 
> 
>     
>   
> 
>     
>     
> 
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>        Make the switch to the world's best email. Get the new Yahoo!7
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--- Matt Lee <mattofgypsies@...> wrote:

>
> I guess another reason why Mme Bresson is bitter
> towards Ms. Wiazemsky is because she acted in many
> more films after Au Hasard Balthazar (most for her
> then husband Godard). Bresson was saddedened when
> his actors did do other films and became
> recognisable, for another example, Dominque Sanda.
>

"Saddened" hell! He STALKED Dominque Sanda for amny
years afterwards, calling her up at all hours and
breathing into the phone without speaking.


      
________________________________________________________________________________\
____
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Please do.

      Shmuel Ben-Gad,
      Gelman Library,
      George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but
still there is much that is fair, and though in all lands love is now mingled
with grief, it grows perhaps the greater."
             --Haldir of Lothlorien


----- Original Message -----
From: David Ehrenstein <cellar47@...>
Date: Sunday, December 9, 2007 6:36 pm
Subject: Re: [bresson-no-spam] Re: Diary of a Country Priest
To: bresson-no-spam@yahoogroups.com


> A copy is on its way to me in the mail. I'll let you
>  know.
>  --- Shmuel Ben-Gad <shmuelb@...> wrote:
>
>  > Have you read it?  What is it like.? I never heard
>  > of it before, i must confess.
>  >
>  >      Shmuel Ben-Gad,
>  >      Gelman Library,
>  >      George Washington University.
>  >
>  > "The world is indeed full of peril, and in it there
>  > are many dark places; but still there is much that
>  > is fair, and though in all lands love is now mingled
>  > with grief, it grows perhaps the greater."
>  >             --Haldir of Lothlorien
>  >
>  >
>  > ----- Original Message -----
>  > From: David Ehrenstein <cellar47@...>
>  > Date: Sunday, December 9, 2007 10:59 am
>  > Subject: Re: [bresson-no-spam] Re: Diary of a
>  > Country Priest
>  > To: bresson-no-spam@yahoogroups.com
>  >
>  >
>  > > She's pretty bizare. And testy too.
>  > >
>  > >  Blew a gasket when Anne Wiazemsky published her
>  > roman
>  > >  a clef, "Jeune Fille," about the shooting of "Au
>  > >  Hasard Balthazar."
>  > >
>  > >  --- Shmuel Ben-Gad <shmuelb@...> wrote:
>  > >
>  > >  > Please explain, if youknow, why Madame Bresson
>  > does
>  > >  > not want Une Femme Douce and Quatre Nuits i
>  > dvd.  It
>  > >  > seesm bizarre.
>  > >  >
>  > >  >      Shmuel Ben-Gad,
>  > >  >      Gelman Library,
>  > >  >      George Washington University.
>  > >  >
>  > >  > "The world is indeed full of peril, and in it
>  > there
>  > >  > are many dark places; but still there is much
>  > that
>  > >  > is fair, and though in all lands love is now
>  > mingled
>  > >  > with grief, it grows perhaps the greater."
>  > >  >             --Haldir of Lothlorien
>  > >  >
>  > >  >
>  > >  > ----- Original Message -----
>  > >  > From: Matt Lee <mattofgypsies@...>
>  > >  > Date: Saturday, December 8, 2007 5:11 pm
>  > >  > Subject: Re: [bresson-no-spam] Re: Diary of a
>  > >  > Country Priest
>  > >  > To: bresson-no-spam@yahoogroups.com
>  > >  >
>  > >  >
>  > >  > >
>  > >  > >  Re: his colour films, I do understand how
>  > you
>  > >  > find them different
>  > >  > > from his
>  > >  > >  earlier works; to me they are colder and
>  > less
>  > >  > inviting, however no
>  > >  > > less brilliant.
>  > >  > >  You should really try “L’Argent” again; it
>  > is the
>  > >  > film in which he perfected
>  > >  > >  his cinematic techniques.
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >  Re: "Four Nights of a Dreamer" on DVD/VHS.
>  > Both
>  > >  > "Four
>  > >  > >  Nights" and "A Gentle Woman" have yet to be
>  > >  > released on DVD due
>  > >  > >  to the request of Bresson's widower, however
>  > both
>  > >  > were released on
>  > >  > > VHS in USA
>  > >  > >  by New Yorker and you can probably find them
>  > on
>  > >  > eBay.
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >  ----- Original Message ----
>  > >  > >  From: David Ehrenstein <cellar47@...>
>  > >  > >  To: bresson-no-spam@yahoogroups.com
>  > >  > >  Sent: Sunday, 9 December, 2007 1:02:53 AM
>  > >  > >  Subject: Re: [bresson-no-spam] Re: Diary of
>  > a
>  > >  > Country Priest
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >              If you're looking for
>  > "expression' in
>  > >  > Bresson via the
>  > >  > >
>  > >  > >  faces of his models then you have the wrong
>  > >  > filmmaker.
>  > >  > >
>  > >  > >  With Boresson it's the ENTIRE BODY not the
>  > face
>  > >  > that's
>  > >  > >
>  > >  > >  used as an expresive resource. And I
>  > couldn't
>  > >  > disagree
>  > >  > >
>  > >  > >  more about Breson's poetics. The sequence in
>  > >  > which the
>  > >  > >
>  > >  > >  title is evoked in "Le Diable Probablement"
>  > is
>  > >  > created
>  > >  > >
>  > >  > >  from the purest audio-visual poetry
>  > imaginable.
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >  --- Paul <forlino@.... com> wrote:
>  > >  > >
>  > >  > >
>  > >  > >
>  > >  > >  > Yes, I do understand what you mean,
>  > absolutely,
>  > >  > and
>  > >  > >
>  > >  > >  > it's a point well
>  > >  > >
>  > >  > >  > taken, although a director (any artist)
>  > can go
>  > >  > to an
>  > >  > >
>  > >  > >  > extreme, which
>  > >  > >
>  > >  > >  > is what I feel Bresson started to do more
>  > and
>  > >  > more
>  > >  > >
>  > >  > >  > and his films also
>  > >  > >
>  > >  > >  > began to show less of a "poetic" feel in
>  > his
>  > >  > imagery
>  > >  > >
>  > >  > >  > and his editing
>  > >  > >
>  > >  > >  > became more deliberately and consciously
>  > >  > abrupt.  I
>  > >  > >
>  > >  > >  > could at least
>  > >  > >
>  > >  > >  > discern some sadness in Mouchette's
>  > expression
>  > >  > at
>  > >  > >
>  > >  > >  > times, and both
>  > >  > >
>  > >  > >  > sadness and anguish in Claude Laydu's face
>  > in
>  > >  > >
>  > >  > >  > "Diary", even though
>  > >  > >
>  > >  > >  > neither of them was "acting" in a very
>  > >  > emotional
>  > >  > >
>  > >  > >  > manner.  ..That
>  > >  > >
>  > >  > >  > interview you mentioned is - I THINK --
>  > the one
>  > >  > that
>  > >  > >
>  > >  > >  > I've seen before
>  > >  > >
>  > >  > >  > (indicates 1960) where the first shot is
>  > that
>  > >  > of
>  > >  > >
>  > >  > >  > three empty chairs.
>  > >  > >
>  > >  > >  > It's a rather strange interview ---
>  > whether it
>  >
>  === message truncated ===
>
>
>
>       
________________________________________________________________________________\
____
>  Be a better friend, newshound, and
>  know-it-all with Yahoo! Mobile.  Try it now.
>
>
>
>
>  Yahoo! Groups Links
>
>
>

A copy is on its way to me in the mail. I'll let you
know.
--- Shmuel Ben-Gad <shmuelb@...> wrote:

> Have you read it?  What is it like.? I never heard
> of it before, i must confess.
>
>      Shmuel Ben-Gad,
>      Gelman Library,
>      George Washington University.
>
> "The world is indeed full of peril, and in it there
> are many dark places; but still there is much that
> is fair, and though in all lands love is now mingled
> with grief, it grows perhaps the greater."
>             --Haldir of Lothlorien
>
>
> ----- Original Message -----
> From: David Ehrenstein <cellar47@...>
> Date: Sunday, December 9, 2007 10:59 am
> Subject: Re: [bresson-no-spam] Re: Diary of a
> Country Priest
> To: bresson-no-spam@yahoogroups.com
>
>
> > She's pretty bizare. And testy too.
> >
> >  Blew a gasket when Anne Wiazemsky published her
> roman
> >  a clef, "Jeune Fille," about the shooting of "Au
> >  Hasard Balthazar."
> >
> >  --- Shmuel Ben-Gad <shmuelb@...> wrote:
> >
> >  > Please explain, if youknow, why Madame Bresson
> does
> >  > not want Une Femme Douce and Quatre Nuits i
> dvd.  It
> >  > seesm bizarre.
> >  >
> >  >      Shmuel Ben-Gad,
> >  >      Gelman Library,
> >  >      George Washington University.
> >  >
> >  > "The world is indeed full of peril, and in it
> there
> >  > are many dark places; but still there is much
> that
> >  > is fair, and though in all lands love is now
> mingled
> >  > with grief, it grows perhaps the greater."
> >  >             --Haldir of Lothlorien
> >  >
> >  >
> >  > ----- Original Message -----
> >  > From: Matt Lee <mattofgypsies@...>
> >  > Date: Saturday, December 8, 2007 5:11 pm
> >  > Subject: Re: [bresson-no-spam] Re: Diary of a
> >  > Country Priest
> >  > To: bresson-no-spam@yahoogroups.com
> >  >
> >  >
> >  > >
> >  > >  Re: his colour films, I do understand how
> you
> >  > find them different
> >  > > from his
> >  > >  earlier works; to me they are colder and
> less
> >  > inviting, however no
> >  > > less brilliant.
> >  > >  You should really try “L’Argent” again; it
> is the
> >  > film in which he perfected
> >  > >  his cinematic techniques.
> >  > >
> >  > >
> >  > >
> >  > >  Re: "Four Nights of a Dreamer" on DVD/VHS.
> Both
> >  > "Four
> >  > >  Nights" and "A Gentle Woman" have yet to be
> >  > released on DVD due
> >  > >  to the request of Bresson's widower, however
> both
> >  > were released on
> >  > > VHS in USA
> >  > >  by New Yorker and you can probably find them
> on
> >  > eBay.
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >  ----- Original Message ----
> >  > >  From: David Ehrenstein <cellar47@...>
> >  > >  To: bresson-no-spam@yahoogroups.com
> >  > >  Sent: Sunday, 9 December, 2007 1:02:53 AM
> >  > >  Subject: Re: [bresson-no-spam] Re: Diary of
> a
> >  > Country Priest
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >
> >  > >              If you're looking for
> "expression' in
> >  > Bresson via the
> >  > >
> >  > >  faces of his models then you have the wrong
> >  > filmmaker.
> >  > >
> >  > >  With Boresson it's the ENTIRE BODY not the
> face
> >  > that's
> >  > >
> >  > >  used as an expresive resource. And I
> couldn't
> >  > disagree
> >  > >
> >  > >  more about Breson's poetics. The sequence in
> >  > which the
> >  > >
> >  > >  title is evoked in "Le Diable Probablement"
> is
> >  > created
> >  > >
> >  > >  from the purest audio-visual poetry
> imaginable.
> >  > >
> >  > >
> >  > >
> >  > >  --- Paul <forlino@.... com> wrote:
> >  > >
> >  > >
> >  > >
> >  > >  > Yes, I do understand what you mean,
> absolutely,
> >  > and
> >  > >
> >  > >  > it's a point well
> >  > >
> >  > >  > taken, although a director (any artist)
> can go
> >  > to an
> >  > >
> >  > >  > extreme, which
> >  > >
> >  > >  > is what I feel Bresson started to do more
> and
> >  > more
> >  > >
> >  > >  > and his films also
> >  > >
> >  > >  > began to show less of a "poetic" feel in
> his
> >  > imagery
> >  > >
> >  > >  > and his editing
> >  > >
> >  > >  > became more deliberately and consciously
> >  > abrupt.  I
> >  > >
> >  > >  > could at least
> >  > >
> >  > >  > discern some sadness in Mouchette's
> expression
> >  > at
> >  > >
> >  > >  > times, and both
> >  > >
> >  > >  > sadness and anguish in Claude Laydu's face
> in
> >  > >
> >  > >  > "Diary", even though
> >  > >
> >  > >  > neither of them was "acting" in a very
> >  > emotional
> >  > >
> >  > >  > manner.  ..That
> >  > >
> >  > >  > interview you mentioned is - I THINK --
> the one
> >  > that
> >  > >
> >  > >  > I've seen before
> >  > >
> >  > >  > (indicates 1960) where the first shot is
> that
> >  > of
> >  > >
> >  > >  > three empty chairs.
> >  > >
> >  > >  > It's a rather strange interview ---
> whether it
>
=== message truncated ===



      
________________________________________________________________________________\
____
Be a better friend, newshound, and
know-it-all with Yahoo! Mobile.  Try it now. 
http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ

I see, Mr. Gallagher.  Thank you.

     Shmuel Ben-Gad,                       
     Gelman Library,
     George Washington University. 

"The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater."
            --Haldir of Lothlorien


----- Original Message -----
From: Tag Gallagher <tag@sprynet.com>
Date: Sunday, December 9, 2007 1:59 pm
Subject: Re: [bresson-no-spam] Re: Diary of a Country Priest
To: bresson-no-spam@yahoogroups.com


> I have not heard anything about Mme Bresson not wanting 4 nuits shown,
>
>  but I did hear that she expressed doubt, at one point, about whether
> a
>  copy could be obtained, because in this instance Bresson had parted
> with
>  his producer on the worst of terms, having gone way over his shooting
>
>  schedule and insisting on whitewashing the Pont Neuf, which
> necessitated
>  the producer selling his house… and so on.  And the film belongs to
> the
>  producer.
> 
>  It would be interesting some day to have a biography of Robert Bresson.
> 
> 
> 
> 
>  Shmuel Ben-Gad wrote:
>  >
>  > Please explain, if youknow, why Madame Bresson does not want Une
> Femme
>  > Douce and Quatre Nuits i dvd.  It seesm bizarre.
>  >
>  >      Shmuel Ben-Gad,                      
>  >      Gelman Library,
>  >      George Washington University.
>  >
>  

Please explain, if youknow, why Madame Bresson does not want Une Femme Douce and Quatre Nuits i dvd.  It seesm bizarre.

     Shmuel Ben-Gad,                       
     Gelman Library,
     George Washington University. 

Have you read it?  What is it like.? I never heard of it before, i must confess.

      Shmuel Ben-Gad,
      Gelman Library,
      George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but
still there is much that is fair, and though in all lands love is now mingled
with grief, it grows perhaps the greater."
             --Haldir of Lothlorien


----- Original Message -----
From: David Ehrenstein <cellar47@...>
Date: Sunday, December 9, 2007 10:59 am
Subject: Re: [bresson-no-spam] Re: Diary of a Country Priest
To: bresson-no-spam@yahoogroups.com


> She's pretty bizare. And testy too.
>
>  Blew a gasket when Anne Wiazemsky published her roman
>  a clef, "Jeune Fille," about the shooting of "Au
>  Hasard Balthazar."
>
>  --- Shmuel Ben-Gad <shmuelb@...> wrote:
>
>  > Please explain, if youknow, why Madame Bresson does
>  > not want Une Femme Douce and Quatre Nuits i dvd.  It
>  > seesm bizarre.
>  >
>  >      Shmuel Ben-Gad,
>  >      Gelman Library,
>  >      George Washington University.
>  >
>  > "The world is indeed full of peril, and in it there
>  > are many dark places; but still there is much that
>  > is fair, and though in all lands love is now mingled
>  > with grief, it grows perhaps the greater."
>  >             --Haldir of Lothlorien
>  >
>  >
>  > ----- Original Message -----
>  > From: Matt Lee <mattofgypsies@...>
>  > Date: Saturday, December 8, 2007 5:11 pm
>  > Subject: Re: [bresson-no-spam] Re: Diary of a
>  > Country Priest
>  > To: bresson-no-spam@yahoogroups.com
>  >
>  >
>  > >
>  > >  Re: his colour films, I do understand how you
>  > find them different
>  > > from his
>  > >  earlier works; to me they are colder and less
>  > inviting, however no
>  > > less brilliant.
>  > >  You should really try “L’Argent” again; it is the
>  > film in which he perfected
>  > >  his cinematic techniques.
>  > >
>  > >
>  > >
>  > >  Re: "Four Nights of a Dreamer" on DVD/VHS. Both
>  > "Four
>  > >  Nights" and "A Gentle Woman" have yet to be
>  > released on DVD due
>  > >  to the request of Bresson's widower, however both
>  > were released on
>  > > VHS in USA
>  > >  by New Yorker and you can probably find them on
>  > eBay.
>  > >
>  > >
>  > >
>  > >
>  > >  ----- Original Message ----
>  > >  From: David Ehrenstein <cellar47@...>
>  > >  To: bresson-no-spam@yahoogroups.com
>  > >  Sent: Sunday, 9 December, 2007 1:02:53 AM
>  > >  Subject: Re: [bresson-no-spam] Re: Diary of a
>  > Country Priest
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >
>  > >              If you're looking for "expression' in
>  > Bresson via the
>  > >
>  > >  faces of his models then you have the wrong
>  > filmmaker.
>  > >
>  > >  With Boresson it's the ENTIRE BODY not the face
>  > that's
>  > >
>  > >  used as an expresive resource. And I couldn't
>  > disagree
>  > >
>  > >  more about Breson's poetics. The sequence in
>  > which the
>  > >
>  > >  title is evoked in "Le Diable Probablement" is
>  > created
>  > >
>  > >  from the purest audio-visual poetry imaginable.
>  > >
>  > >
>  > >
>  > >  --- Paul <forlino@.... com> wrote:
>  > >
>  > >
>  > >
>  > >  > Yes, I do understand what you mean, absolutely,
>  > and
>  > >
>  > >  > it's a point well
>  > >
>  > >  > taken, although a director (any artist) can go
>  > to an
>  > >
>  > >  > extreme, which
>  > >
>  > >  > is what I feel Bresson started to do more and
>  > more
>  > >
>  > >  > and his films also
>  > >
>  > >  > began to show less of a "poetic" feel in his
>  > imagery
>  > >
>  > >  > and his editing
>  > >
>  > >  > became more deliberately and consciously
>  > abrupt.  I
>  > >
>  > >  > could at least
>  > >
>  > >  > discern some sadness in Mouchette's expression
>  > at
>  > >
>  > >  > times, and both
>  > >
>  > >  > sadness and anguish in Claude Laydu's face in
>  > >
>  > >  > "Diary", even though
>  > >
>  > >  > neither of them was "acting" in a very
>  > emotional
>  > >
>  > >  > manner.  ..That
>  > >
>  > >  > interview you mentioned is - I THINK -- the one
>  > that
>  > >
>  > >  > I've seen before
>  > >
>  > >  > (indicates 1960) where the first shot is that
>  > of
>  > >
>  > >  > three empty chairs.
>  > >
>  > >  > It's a rather strange interview --- whether it
>  > was
>  > >
>  > >  > produced purposely
>  > >
>  > >  > with mock, 'tongue-in-cheek' seriousness or
>  > not, I
>  > >
>  > >  > don't know -- but
>  > >
>  > >  > I'm wondering if it might have been a sort of
>  > gentle
>  > >
>  > >  > parody (just for
>  > >
>  > >  > fun, and yet still with great admiration) of
>  > >
>  > >  > Bresson's own unique,
>  > >
>  > >  > seemingly cold, unemotional( !) directorial
>  > style,
>  > >
>  > >  > while still at the
>  > >
>  > >  > same time being a series of serious questions
>  > for
>  > >
>  > >  > him.  Or maybe I'm
>  > >
>  > >  > just imagining things.
>  > >
>  > >  >
>  > >
>  > >  > Paul
>  > >
>  > >  >
>  > >
>  > >  >
>  > >
>  > >  > --- In bresson-no-spam@ yahoogroups. com, David
>  >
>  > >
>  > >  > Ehrenstein
>  > >
>  > >  > <cellar47@.. .> wrote:
>  > >
>  > >  > >
>  > >
>  > >  > > There's a difference between "not acting
>  > >
>  > >  > emotional" and "acting
>  > >
>  > >  > emotionless. "  Bresson's models are the
>  > former.
>  > >
>  > >  > >
>  > >
>  > >  > > There's also an interview with Bresson at the
>  > time
>  === message truncated ===
>
>
>
>       
________________________________________________________________________________\
____
>  Be a better friend, newshound, and
>  know-it-all with Yahoo! Mobile.  Try it now.
>
>
>
>
>  Yahoo! Groups Links
>
>
>

I agree with this. I do not find thel ater films cold but more precise and
rigorous and even more effective.

      Shmuel Ben-Gad,
      Gelman Library,
      George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but
still there is much that is fair, and though in all lands love is now mingled
with grief, it grows perhaps the greater."
             --Haldir of Lothlorien


----- Original Message -----
From: David Ehrenstein <cellar47@...>
Date: Saturday, December 8, 2007 8:54 pm
Subject: Re: [bresson-no-spam] Re: Diary of a Country Priest
To: bresson-no-spam@yahoogroups.com


>  --- Paul <forlino@...> wrote:
>
>    Some Bressonians respond to the
>  > coldness of the
>  > later films.
>
>  The thing is I don't find the later films cold at all.
>  "Une Femme Douce Is incredibly passionate. How can any
>  film starrign Dominque Sanda be cold?
>
>  And "Le Diable Probablement" is even more motional --
>  a cri de coeur from an old man madly in love with
>  youth and despairing at their despair.
>
>
>       
________________________________________________________________________________\
____
>  Never miss a thing.  Make Yahoo your home page.
>
>
>
>
>  Yahoo! Groups Links
>
>
>

Warning:  this message gives the ending of L'Argent away.  If you have not seen it yet, I strongly sggest not reading any further!

Like some other. I think i l'Arent, Mr  Bresson brougt his techniques totheir peak. the ending still blows me away every time I seeit though I do not completely understand why: the people not looking after Targe as he is taken away by the policy (as wouod seem natural) but continuing to look intothe restaurant he has left winds up, for me, having conveying an amazing sense of  wonder.

Comparing this ending to the ending of Les Anges du Peche-- superficially similar but so very different in actuality and in effect--for me summarizes the path Mr. Breesson travlled from well-made conventional films th his own style that  is uniquelyevocative of mystery.

     Shmuel Ben-Gad,                       
     Gelman Library,
     George Washington University. 

"The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater."
            --Haldir of Lothlorien


----- Original Message -----
From: James Day <james_f_day@...>
Date: Saturday, December 8, 2007 7:46 pm
Subject: Re: [bresson-no-spam] Re: Diary of a Country Priest
To: bresson-no-spam@yahoogroups.com


> Cinefile usually has Une femme douce on VHS available, too, Paul. See
> if it's there when you check out Les dames. And make sure you tell us
> what you thought of that one -- I saw it about 3 months ago now,
> finally, and I was really entertained! I couldn't believe how much he
> used the dolly in it! It's fascinating to see it knowing what will
> come later.
>    
>    Does anyone have one Bresson film where they think it all came
> together for him? That his belief in his approach to form and content
> unified perfectly?
>   
>  Paul <forlino@...> wrote:
>            Yes, Matt -- it's the coldness. David's correct when he
> mentioned
>  that Bresson's models don't "act emotional", and that their faces
>  lack expression because the expression is in the entire body.. Yet
>  one thing I haven't figured out is why, even though his actors seem
>  just as inexpressive from "A Man Escaped through Mouchette" as they
>  do in the post-1960's films, they seem rather more human in the
>  former. I know, it will be pointed out by others that that's
>  precisely what Bresson was trying to get away from and that he
>  purposely strove to wring out the last ounce of "acting" from his
>  models and he indeed did get rid of just about all of it by the mid-
>  1950's. Why I like the earlier films quite a bit more is just my
>  personal opinon. Some Bressonians respond to the coldness of the
>  later films. I prefer Antonioni's early films -- particularly
>  L'Avventura, arguably the greatest film of the last 50 years -- to
>  his later ones, which seem more artificially contrived to me and less
>
>  natural; and yet one can argue that his techniques were just about as
>
>  austere and severe from the beginning to the end of his career,
>  including his handling of actors. So much of this is a mystery to
>  me -- why Bresson's later movies seem less natural for example.
> 
>  I do remember "Four Nights"; but as far as "A Gentle Woman", that
>  indeed might be the one Bresson I never saw.. I'll try to get it.
>  Thanks for your response. I've watched my tape of L'Argent twice
>  already. Maybe I'll see it a third time.
> 
>  - Paul
> 
>  P.S.: I do remember admiring most of Lancelot du Lac,
>  particularly Bresson's exquisite cinematography. It reinforces in my
>
>  mind that there's just nothing like seeing a film in an actual
>  theater. Even on the best DVD's, the picture has already
>  been "digitized" -- broken up into bits -- and lacks the subtle
>  information and resolution and realism that one sees on actual
>  original film. Same with digital sound as opposed to analogue sound.
> 
>  >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>.
> 
>  --- In bresson-no-spam@yahoogroups.com, Matt Lee <mattofgypsies@...>
>
>  wrote:
>  >
>  Re: his colour films, I do understand how you find them different
>  from his earlier works; to me they are colder and less inviting,
>  however no less brilliant. You should really try “L’Argent”
>  again; it is the film in which he perfected his cinematic techniques.
> 
>  Re: "Four Nights of a Dreamer" on DVD/VHS. Both "Four Nights" and "A
>
>  Gentle Woman" have yet to be released on DVD due to the request of
>  Bresson's widower, however both were released on VHS in USA by New
>  Yorker and you can probably find them on eBay.
> 
> 
> 
>                          
> 
>        
>  ---------------------------------
>  Looking for last minute shopping deals?  Find them fast with Yahoo! Search.

She's pretty bizare. And testy too.

Blew a gasket when Anne Wiazemsky published her roman
a clef, "Jeune Fille," about the shooting of "Au
Hasard Balthazar."

--- Shmuel Ben-Gad <shmuelb@...> wrote:

> Please explain, if youknow, why Madame Bresson does
> not want Une Femme Douce and Quatre Nuits i dvd.  It
> seesm bizarre.
>
>      Shmuel Ben-Gad,
>      Gelman Library,
>      George Washington University.
>
> "The world is indeed full of peril, and in it there
> are many dark places; but still there is much that
> is fair, and though in all lands love is now mingled
> with grief, it grows perhaps the greater."
>             --Haldir of Lothlorien
>
>
> ----- Original Message -----
> From: Matt Lee <mattofgypsies@...>
> Date: Saturday, December 8, 2007 5:11 pm
> Subject: Re: [bresson-no-spam] Re: Diary of a
> Country Priest
> To: bresson-no-spam@yahoogroups.com
>
>
> >
> >  Re: his colour films, I do understand how you
> find them different
> > from his
> >  earlier works; to me they are colder and less
> inviting, however no
> > less brilliant.
> >  You should really try “L’Argent” again; it is the
> film in which he perfected
> >  his cinematic techniques.
> >
> >
> >
> >  Re: "Four Nights of a Dreamer" on DVD/VHS. Both
> "Four
> >  Nights" and "A Gentle Woman" have yet to be
> released on DVD due
> >  to the request of Bresson's widower, however both
> were released on
> > VHS in USA
> >  by New Yorker and you can probably find them on
> eBay.
> >
> >
> >
> >
> >  ----- Original Message ----
> >  From: David Ehrenstein <cellar47@...>
> >  To: bresson-no-spam@yahoogroups.com
> >  Sent: Sunday, 9 December, 2007 1:02:53 AM
> >  Subject: Re: [bresson-no-spam] Re: Diary of a
> Country Priest
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >              If you're looking for "expression' in
> Bresson via the
> >
> >  faces of his models then you have the wrong
> filmmaker.
> >
> >  With Boresson it's the ENTIRE BODY not the face
> that's
> >
> >  used as an expresive resource. And I couldn't
> disagree
> >
> >  more about Breson's poetics. The sequence in
> which the
> >
> >  title is evoked in "Le Diable Probablement" is
> created
> >
> >  from the purest audio-visual poetry imaginable.
> >
> >
> >
> >  --- Paul <forlino@.... com> wrote:
> >
> >
> >
> >  > Yes, I do understand what you mean, absolutely,
> and
> >
> >  > it's a point well
> >
> >  > taken, although a director (any artist) can go
> to an
> >
> >  > extreme, which
> >
> >  > is what I feel Bresson started to do more and
> more
> >
> >  > and his films also
> >
> >  > began to show less of a "poetic" feel in his
> imagery
> >
> >  > and his editing
> >
> >  > became more deliberately and consciously
> abrupt.  I
> >
> >  > could at least
> >
> >  > discern some sadness in Mouchette's expression
> at
> >
> >  > times, and both
> >
> >  > sadness and anguish in Claude Laydu's face in
> >
> >  > "Diary", even though
> >
> >  > neither of them was "acting" in a very
> emotional
> >
> >  > manner.  ..That
> >
> >  > interview you mentioned is - I THINK -- the one
> that
> >
> >  > I've seen before
> >
> >  > (indicates 1960) where the first shot is that
> of
> >
> >  > three empty chairs.
> >
> >  > It's a rather strange interview --- whether it
> was
> >
> >  > produced purposely
> >
> >  > with mock, 'tongue-in-cheek' seriousness or
> not, I
> >
> >  > don't know -- but
> >
> >  > I'm wondering if it might have been a sort of
> gentle
> >
> >  > parody (just for
> >
> >  > fun, and yet still with great admiration) of
> >
> >  > Bresson's own unique,
> >
> >  > seemingly cold, unemotional( !) directorial
> style,
> >
> >  > while still at the
> >
> >  > same time being a series of serious questions
> for
> >
> >  > him.  Or maybe I'm
> >
> >  > just imagining things.
> >
> >  >
> >
> >  > Paul
> >
> >  >
> >
> >  >
> >
> >  > --- In bresson-no-spam@ yahoogroups. com, David
>
> >
> >  > Ehrenstein
> >
> >  > <cellar47@.. .> wrote:
> >
> >  > >
> >
> >  > > There's a difference between "not acting
> >
> >  > emotional" and "acting
> >
> >  > emotionless. "  Bresson's models are the
> former.
> >
> >  > >
> >
> >  > > There's also an interview with Bresson at the
> time
=== message truncated ===



      
________________________________________________________________________________\
____
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know-it-all with Yahoo! Mobile.  Try it now. 
http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ

As it happens, i think L'Argn tis Mr. Bresson's masterpiece.  As i recal in an
interivew he gave, he thoug tit his best work.

      Shmuel Ben-Gad,
      Gelman Library,
      George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but
still there is much that is fair, and though in all lands love is now mingled
with grief, it grows perhaps the greater."
             --Haldir of Lothlorien


----- Original Message -----
From: Paul <forlino@...>
Date: Friday, December 7, 2007 2:58 am
Subject: [bresson-no-spam] Re: Diary of a Country Priest
To: bresson-no-spam@yahoogroups.com


>  Thanks to all of you who responded.  I believe I've seen all of his
>  color films.   "L'Argent" is the one I dislike most intensely.  Are
>  these characters actually human beings??  They walk around (as well
> as
>  speak) like automatons, expressionless, robot-like.
>
>  Anyway I must say that I love every one of Bresson's films very much
> up
>  through "Mouchette".
>
>  What is the significance (symbolism?) of Mouchette's insistence on
>  covering herself, each time, with that thin white garment while
> rolling
>  downhill into the pond?
>
>  I just found the following essay on "Les Dames":  -
>  www.horschamp.qc.ca/new_offscreen/boisdeboulogne.html  .... I haven't
>
>  had time to read it carefully yet but will do so soon.
>
>  I wish I could take a look at the Criterion DVD of Les Dames, so
>  much.   Does anyone in this group live in the Southern California area??
>
>   -- Paul (forlino@...)
>
>
>
>
>  Yahoo! Groups Links
>
>
>

Thanks, James and David..  When I go to Cinefile, I'll try to get
both "Le Diable Probablement" and "Une Femme Douce".
   I've never been there, but I have a suspicion that their selection of
foreign films is probably WAY, WAY better than, say, Blockbuster.
    Judging by the posted messages, this group began only back in May of
this year, and yet seems to be the best of the Yahoo groups on
Bresson!  There's one called "ROBERT BRESSON", and another I believe
called simply "BRESSON".

  Paul

--- Paul <forlino@...> wrote:

   Some Bressonians respond to the
> coldness of the
> later films.

The thing is I don't find the later films cold at all.
"Une Femme Douce Is incredibly passionate. How can any
film starrign Dominque Sanda be cold?

And "Le Diable Probablement" is even more motional --
a cri de coeur from an old man madly in love with
youth and despairing at their despair.


      
________________________________________________________________________________\
____
Never miss a thing.  Make Yahoo your home page.
http://www.yahoo.com/r/hs

Yes, Matt -- it's the coldness. David's correct when he mentioned
that Bresson's models don't "act emotional", and that their faces
lack expression because the expression is in the entire body.. Yet
one thing I haven't figured out is why, even though his actors seem
just as inexpressive from "A Man Escaped through Mouchette" as they
do in the post-1960's films, they seem rather more human in the
former. I know, it will be pointed out by others that that's
precisely what Bresson was trying to get away from and that he
purposely strove to wring out the last ounce of "acting" from his
models and he indeed did get rid of just about all of it by the mid-
1950's. Why I like the earlier films quite a bit more is just my
personal opinon. Some Bressonians respond to the coldness of the
later films. I prefer Antonioni's early films -- particularly
L'Avventura, arguably the greatest film of the last 50 years -- to
his later ones, which seem more artificially contrived to me and less
natural; and yet one can argue that his techniques were just about as
austere and severe from the beginning to the end of his career,
including his handling of actors. So much of this is a mystery to
me -- why Bresson's later movies seem less natural for example.

I do remember "Four Nights"; but as far as "A Gentle Woman", that
indeed might be the one Bresson I never saw.. I'll try to get it.
Thanks for your response. I've watched my tape of L'Argent twice
already. Maybe I'll see it a third time.

- Paul

P.S.: I do remember admiring most of Lancelot du Lac,
particularly Bresson's exquisite cinematography. It reinforces in my
mind that there's just nothing like seeing a film in an actual
theater. Even on the best DVD's, the picture has already
been "digitized" -- broken up into bits -- and lacks the subtle
information and resolution and realism that one sees on actual
original film. Same with digital sound as opposed to analogue sound.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>.

--- In bresson-no-spam@yahoogroups.com, Matt Lee <mattofgypsies@...>
wrote:
>
Re: his colour films, I do understand how you find them different
from his earlier works; to me they are colder and less inviting,
however no less brilliant. You should really try “L’Argent”
again; it is the film in which he perfected his cinematic techniques.

Re: "Four Nights of a Dreamer" on DVD/VHS. Both "Four Nights" and "A
Gentle Woman" have yet to be released on DVD due to the request of
Bresson's widower, however both were released on VHS in USA by New
Yorker and you can probably find them on eBay.

Yes, Matt -- it's the coldness.  David's correct when he mentioned
that Bresson's models don't "act emotional", and that their faces
lack expression because the expression is in the entire body.. Yet
one thing I haven't figured out is why, even though his actors seem
just as inexpressive from "A Man Escaped through Mouchette" as they
do in the post-1960's films, they seem rather more human in the
former.  I know, it will be pointed out by others that that's
precisely what Bresson was trying to get away from and that he
purposely strove to wring out the last ounce of "acting" from his
models and he indeed did get rid of just about all of it by the mid-
1950's.  Why I like the earlier films quite a bit more is just my
personal opinon.  Some Bressonians respond to the coldness of the
later films.   I prefer Antonioni's early films -- particularly
L'Avventura, arguably the greatest film of the last 50 years -- to
his later ones, which seem more artificially contrived to me and less
natural; and yet one can argue that his techniques were just about as
austere and severe from the beginning to the end of his career,
including his handling of actors.  So much of this is a mystery to
me -- why Bresson's later movies seem less natural for example.

I do remember "Four Nights"; but as far as "A Gentle Woman", that
indeed might be the one Bresson I never saw..  I'll try to get it.
Thanks for your response.  I've watched my tape of L'Argent twice
already.  Maybe I'll see it a third time.

   - Paul

    P.S.:  I do remember admiring most of Lancelot du Lac,
particularly Bresson's exquisite cinematography.  It reinforces in my
mind that there's just nothing like seeing a film in an actual
theater.  Even on the best DVD's, the picture has already
been "digitized" -- broken up into bits -- and lacks the subtle
information and resolution and realism that one sees on actual
original film.  Same with digital sound as opposed to analogue sound.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>.

--- In bresson-no-spam@yahoogroups.com, Matt Lee <mattofgypsies@...>
wrote:
>
Re: his colour films, I do understand how you find them different
from his earlier works; to me they are colder and less inviting,
however no less brilliant. You should really try “L’Argent”
again; it is the film in which he perfected his cinematic techniques.

Re: "Four Nights of a Dreamer" on DVD/VHS. Both "Four Nights" and "A
Gentle Woman" have yet to be released on DVD due to the request of
Bresson's widower, however both were released on VHS in USA by New
Yorker and you can probably find them on eBay.

Well, OK, but for some reason I just don't care for Bresson's later
films as much as his earlier ones and perhaps it's just a matter of
personal preference, even though many members in this group might
disagree with me.  But anyway, I didn't mean to sound argumentative
about all this.   Your emphasis about the "whole body" expression by
Bresson's models is indeed correct and the characters in his films
would certainly be less persuasive and believable without it.   I did
take people's advice (including yours) about choosing the Criterion
DVD of "Les Dames" instead of getting a cheaper copy.  I contacted
Cinefile and they have it(!) so I'm going to rent it or perhaps
purchase it soon.

Paul


--- In bresson-no-spam@yahoogroups.com, David Ehrenstein
<cellar47@...> wrote:
>
> If you're looking for "expression' in Bresson via the faces of his
models then you have the wrong filmmaker. With Boresson it's the
ENTIRE BODY not the face that's used as an expresive resource. And I
couldn't disagree more about Breson's poetics. The sequence in which
the title is evoked in "Le Diable Probablement" is created from the
purest audio-visual poetry imaginable.

If you're looking for "expression' in Bresson via the
faces of his models then you have the wrong filmmaker.
With Boresson it's the ENTIRE BODY not the face that's
used as an expresive resource. And I couldn't disagree
more about Breson's poetics. The sequence in which the
title is evoked in "Le Diable Probablement" is created
from the purest audio-visual poetry imaginable.

--- Paul <forlino@...> wrote:

> Yes, I do understand what you mean, absolutely, and
> it's a point well
> taken, although a director (any artist) can go to an
> extreme, which
> is what I feel Bresson started to do more and more
> and his films also
> began to show less of a "poetic" feel in his imagery
> and his editing
> became more deliberately and consciously abrupt.  I
> could at least
> discern some sadness in Mouchette's expression at
> times, and both
> sadness and anguish in Claude Laydu's face in
> "Diary", even though
> neither of them was "acting" in a very emotional
> manner.  ..That
> interview you mentioned is - I THINK -- the one that
> I've seen before
> (indicates 1960) where the first shot is that of
> three empty chairs.
> It's a rather strange interview --- whether it was
> produced purposely
> with mock, 'tongue-in-cheek' seriousness or not, I
> don't know -- but
> I'm wondering if it might have been a sort of gentle
> parody (just for
> fun, and yet still with great admiration) of
> Bresson's own unique,
> seemingly cold, unemotional(!) directorial style,
> while still at the
> same time being a series of serious questions for
> him.  Or maybe I'm
> just imagining things.
>
> Paul
>
>
> --- In bresson-no-spam@yahoogroups.com, David
> Ehrenstein
> <cellar47@...> wrote:
> >
> > There's a difference between "not acting
> emotional" and "acting
> emotionless."  Bresson's models are the former.
> >
> > There's also an interview with Bresson at the time
> of "Pickpocket"
> on YouTube. He's very funny, flirty and sly in it.
> He responds to the
> question of whether he ever knew any pickpockets as
> if the questioner
> asked him if he were gay.
>
>



      
________________________________________________________________________________\
____
Be a better friend, newshound, and
know-it-all with Yahoo! Mobile.  Try it now. 
http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ

Yes, I do understand what you mean, absolutely, and it's a point well
taken, although a director (any artist) can go to an extreme, which
is what I feel Bresson started to do more and more and his films also
began to show less of a "poetic" feel in his imagery and his editing
became more deliberately and consciously abrupt.  I could at least
discern some sadness in Mouchette's expression at times, and both
sadness and anguish in Claude Laydu's face in "Diary", even though
neither of them was "acting" in a very emotional manner.  ..That
interview you mentioned is - I THINK -- the one that I've seen before
(indicates 1960) where the first shot is that of three empty chairs.
It's a rather strange interview --- whether it was produced purposely
with mock, 'tongue-in-cheek' seriousness or not, I don't know -- but
I'm wondering if it might have been a sort of gentle parody (just for
fun, and yet still with great admiration) of Bresson's own unique,
seemingly cold, unemotional(!) directorial style, while still at the
same time being a series of serious questions for him.  Or maybe I'm
just imagining things.

Paul


--- In bresson-no-spam@yahoogroups.com, David Ehrenstein
<cellar47@...> wrote:
>
> There's a difference between "not acting emotional" and "acting
emotionless."  Bresson's models are the former.
>
> There's also an interview with Bresson at the time of "Pickpocket"
on YouTube. He's very funny, flirty and sly in it. He responds to the
question of whether he ever knew any pickpockets as if the questioner
asked him if he were gay.

There's a difference between "not acting emotional"
and "acting emotionless." Bresson's models are the
former.

There's also an interview with Bresson at the time of
"Pickpocket" on YouTube. He's very funny, flirty and
sly in it. He responds to the question of whether he
ever knew any pickpockets as if the questioner asked
him if he were gay.

--- Paul <forlino@...> wrote:

> Thanks, James.  I'm going to check out Cinefile.  I
> do have the
> videotape of L'Argent and plan to keep it.  I'll see
> if I can buy or
> rent the DVD to "Les Dames" at Cinefile.  I hope
> they have it.  After
> writing my comments I DID suspect, and anticipate,
> after I thought
> about it, that someone was going to respond that
> indeed the
> characters IN ALL OF BRESSON'S FILMS act
> emotionless, and that that's
> what some viewers have always critized him for.  I
> don't
> know...perhaps I'm being overly critical.  It's just
> that for some
> reason there seems to be a certain purity and grace
> in his earlier
> works (even through Mouchette, but especially his
> first three feature
> films) -- in his beautiful compositions and editing
> and the rhythm
> and "feel" and naturalness of the films -- as well
> as at least an
> inkling of what people are thinking, or their
> suffering and anxiety,
> that can be detected in their demeanor and even
> subtle facial
> expressions.
>
>  I can't access YouTube at the moment -- on my work
> computer -- but
> if that link you mentioned is the one where
> Tarkovsky and Bresson are
> presented their awards by Orson (at Cannes), I HAVE
> seen that
> clip.... but I'll check again to be sure.  It's a
> shame (and sad, and
> disgusting) that Bresson was booed, but some Cannes
> audience members
> evidently aren't exactly the most civilized and
> open-minded of
> people.  They could have at least shown Bresson some
> respect, or just
> remained silent.  And speaking of Tarkovsky, by the
> way, if I wanted
> to see one film of his, can you or someone in this
> group recommend
> one that would be a good "starter"? -- one that's
> representative of
> his best film-making?
>
>  -- Paul (forlino@...)
>
>
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>
> --- In bresson-no-spam@yahoogroups.com, James Day
> <james_f_day@...>
> wrote:
> >
> > Paul,
> >
> >   If you make the trip to LA's Cinefile on Santa
> Monica Blvd. &
> Sawtelle you will find Les Dames in the Bresson
> collection. Cinefile
> organizes their titles by director so you can browse
> other Bresson,
> such as L'Argent, and I do hope you give it another
> shot because I
> believe it's one of the best final films of a
> director of any time
> period, of any country. Yes, they are human beings,
> not robots. And
> if these characters walk around and speak
> expressionless and robot-
> like, where in Bresson are his characters any
> different? I believe in
> L'Argent Bresson reached the zenith of his
> discipline, of his
> dedication to his notion of cinematography, so much
> so that his film
> fueled such emotion from his audience -- like me,
> people loved it;
> like you, they hated it. And isn't that the ultimate
> goal of
> filmmaking, to make people feel? Whatever the
> emotion at least they
> feel something. The worst you can say about L'Argent
> or any film is,
> Ehh. Whatever. I'm over it. You should search on
> >  YouTube Bresson Tarkovsky 1983 Cannes. You'll see
> what I mean.
> >
> >   Best,
> >
> >   James
>
>



      
________________________________________________________________________________\
____
Never miss a thing.  Make Yahoo your home page.
http://www.yahoo.com/r/hs

Thanks, James.  I'm going to check out Cinefile.  I do have the
videotape of L'Argent and plan to keep it.  I'll see if I can buy or
rent the DVD to "Les Dames" at Cinefile.  I hope they have it.  After
writing my comments I DID suspect, and anticipate, after I thought
about it, that someone was going to respond that indeed the
characters IN ALL OF BRESSON'S FILMS act emotionless, and that that's
what some viewers have always critized him for.  I don't
know...perhaps I'm being overly critical.  It's just that for some
reason there seems to be a certain purity and grace in his earlier
works (even through Mouchette, but especially his first three feature
films) -- in his beautiful compositions and editing and the rhythm
and "feel" and naturalness of the films -- as well as at least an
inkling of what people are thinking, or their suffering and anxiety,
that can be detected in their demeanor and even subtle facial
expressions.

  I can't access YouTube at the moment -- on my work computer -- but
if that link you mentioned is the one where Tarkovsky and Bresson are
presented their awards by Orson (at Cannes), I HAVE seen that
clip.... but I'll check again to be sure.  It's a shame (and sad, and
disgusting) that Bresson was booed, but some Cannes audience members
evidently aren't exactly the most civilized and open-minded of
people.  They could have at least shown Bresson some respect, or just
remained silent.  And speaking of Tarkovsky, by the way, if I wanted
to see one film of his, can you or someone in this group recommend
one that would be a good "starter"? -- one that's representative of
his best film-making?

  -- Paul (forlino@...)

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--- In bresson-no-spam@yahoogroups.com, James Day <james_f_day@...>
wrote:
>
> Paul,
>
>   If you make the trip to LA's Cinefile on Santa Monica Blvd. &
Sawtelle you will find Les Dames in the Bresson collection. Cinefile
organizes their titles by director so you can browse other Bresson,
such as L'Argent, and I do hope you give it another shot because I
believe it's one of the best final films of a director of any time
period, of any country. Yes, they are human beings, not robots. And
if these characters walk around and speak expressionless and robot-
like, where in Bresson are his characters any different? I believe in
L'Argent Bresson reached the zenith of his discipline, of his
dedication to his notion of cinematography, so much so that his film
fueled such emotion from his audience -- like me, people loved it;
like you, they hated it. And isn't that the ultimate goal of
filmmaking, to make people feel? Whatever the emotion at least they
feel something. The worst you can say about L'Argent or any film is,
Ehh. Whatever. I'm over it. You should search on
>  YouTube Bresson Tarkovsky 1983 Cannes. You'll see what I mean.
>
>   Best,
>
>   James

Thanks to all of you who responded. I believe I've seen all of his
color films. "L'Argent" is the one I dislike most intensely. Are
these characters actually human beings?? They walk around (as well as
speak) like automatons, expressionless, robot-like.

Anyway I must say that I love every one of Bresson's films very much up
through "Mouchette".

What is the significance (symbolism?) of Mouchette's insistence on
covering herself, each time, with that thin white garment while rolling
downhill into the pond?

I just found the following essay on "Les Dames": -
www.horschamp.qc.ca/new_offscreen/boisdeboulogne.html .... I haven't
had time to read it carefully yet but will do so soon.

I wish I could take a look at the Criterion DVD of Les Dames, so
much. Does anyone in this group live in the Southern California area??

-- Paul (forlino@....com)