L'Argent (BFI Modern Classics)
Kent Jones
Language: English
Pages: 96
ISBN: 0851707335
Format: PDF / Kindle (mobi) / ePub
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to the apartment, wbere the familia] habit of everyday duplicity is repeated with the father, presumably on his way to see the religious instructor. 'You stay bere,' he instructs Norbert. 'This is so stupid,' he adds as he wa]ks into the e1evator, and bis son compliantly closes the door behind him. In Bresson's original script, the conHict between the father and the instructor was retained from Tülstoy's novella (which accounts for the urgency of the mother's request that Norbert denywhat
own trajectory. Bow does it feel to walk down the Grand Boulevards, Bresson wonders? As always, tbe orientation is place-specific rather tban situation- 01' mood-oriented. Bow does it feel to walk down thÚ particular street, to sit on thÚ cbair in thÚ room, to perform thú action? It' s never a question of how it feels for this or tbat particular character, but simply how it feels. In an attempt to nail down the manner in which u~'banlife figures into Hitchcock's films, Fredric Jameson has written
200-franc bilIs (in close-up, of course) start pouring out, one after the other. Bresson has always been drawn to such ingenious procedures (the pickpocketing in Pickpocket, the whole escape scenario in AMan LJ,['U{-'Ul, the poacher and his traps in Mouchette), which signals the anarchic (and vastly underestimated) side of his personality it actualIy begins with the disjointed comedy of his first film, Affaires publiques (1934), Ile originally Arrival in prison; Yvon and Elise's last goodbye 63
Ricoeur, Sylvestre 7 I~aymond Durgnat, 'The Negative Vision 01 Robert Bresson' in Quandt (ed.), Robert Pierre Gulfroy Bresson, p 411 Guarino Music 1st Assistant Director 'Chromatic Fantasy' by Mylene van der Mersch Johann Sebastian Bach, 2nd Assistant Directors performed by Michel Briguet Thierry Bodin, Pascal Bony Script Supervisor Franqoise Renberg Camera Operalor Mario Cimini Camera Assistants Miehel Abramowiez. Philippe Tabarly KeyGrip Jean Hennau Galfers Lueiano Leoml,
cinema: an intimate record of contact the wodd, recreated and transmuted into narrative. For Bresson one most crucial components in the rendering of experience is the inflexible course of time, which can on1y be rendered (rather than evoked, or alluded to) by narrative. You might go so far as to say that LH'Coovumakes films about the world first, and the things that happen within it second (it's not surprising that one of his long-cherished projects a film based on Genesis), which is the reverse