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By Kent Jones

Made while the director used to be virtually eighty, Robert Bresson's "L'Argent" (1983) is a examine of homicide and intent tailored from Tolstoy. the writer compares "L'Argent" to Bresson's different paintings and locations the movie on the crossroads of contemporary cinema traits - these of the vigilante and serial killer films.

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Quite often, his motion pictures are outlined in line with their formal and thematic offerings, in preference to the particular onscreen fabric. we do not usually consider Bresson by way of his rendering of truth, of lived adventure. Fle' s frequently pitted opposed to all people else, and singled out for his unorthodox method of depicting motion via a posh set of formal kin that require disassembly and exam. but take heed to Bresson talking to Michel Ciment for a 1983 PO. I'itzf interview: you should opt for your sensibility. there's not anything else. i have been referred to as an highbrow, yet in fact i am nol. Writing is unbelievably tricky, yet 1have to simply because every little thing needs to originate with me. i have been known as a Jansenist, is insanity. i am the other i am drawn to impressions. 1'11 offer you ex,~mple taken from L'Argent. whilst i am at the Grands Boulevards, the factor 1think is How do they provoke me? And the answer's that they me as a mass of legs and a legitimate of toes at the pavements. i attempted to this impact by means of photo and through sound '" There needs to be a in the meanwhile of doing, there should be a sense that the people and to be filmed are new, you'll want to throw surprises on movie. that is what h"'c\n,on~,rl within the scene at the Grands Boulevards ... 1could believe the stairs, 1 at the protagonist's legs, and that manner i'll propel him via crowd to the place he had to be. that is the Grands Boulevards, so far as concemed, the entire movement. differently, 1might in addition have used an image bO:3tcélrd. the item that struck me while 1used to visit the cinema was once that p\l,~r\l:rnlrl! l had been sought after prematurely, all the way down to the final aspect ... Painters do 16 BFI MüDERN CLASSICS now not understand upfront how their photograph goes to show out, a sculptor can't inform what his sculpture should be, a poet doesn't plan a poem upfront . you could have spotted that during L'Argentthere are a chain of close-ups whose simply functionality is so as to add sensation. whilst the daddy, a piano-player, drops a tumbler, his daughter is within the kitchen. Her dustpan and sponge are prepared. Ido now not then input the room, yet minimize instantly to a detailed shot which Ilike a great deal, the rainy ground with the sound of the sponge. that's tune, rhythm, sensation ... more and more, what i'm adjust - and with L'Argent it grew to become virtually a operating technique - is to speak the impressions i believe four 1 imagine that this have to provide shape to his personal impressions, greater than any approach, experience of transcendence, or measure of 'moral accountability', as Tony Pipolo has so aptly phrased it,5 is on the middle ofBresson's artwork and its strange impression. the kind of 'sensation' that Bresson is describing is felt merely fitfully within the paintings of such a lot different film-makers. the various pictures from within relocating autos in Nicholas Ray's On harmful floor (1951), example, or the episode with the broken-down boxer arriving at his room in John Huston's fats urban (1972), are robust sensory reviews, during which the film-makers have clearIy sought and completed a human (i.

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