Leo Enticknap comments:


> Many thanks to Gloria Monti for reprinting the AP obit of Bresson.  Up
> until reading it I had a mental note of him as a one-film (and what an
> astounding film it is) wonder - UN CONDAMNE A MORT S'ECHAPPE - but even
> this summary of his life  shows how much of a grey area French cinema
> between the end of WWII and the mid-60s is.  I have long wanted to see a
> detailed, analytical biography of Henri-Georges Clouzot (ever since I was
> called upon to do an impromptu commentary for an unsubtitled print of LE
> CORBEAU) because (i) it seems that like Clouzot, Bresson can't be
> pigeonholed into an easy generic or authorial category, and (ii) I I felt
> that the progress of his career would start to address some of these
> issues.  What this obit suggests is that Bresson's career is just as
> interesting.

Bresson left a substantial contribution in his handful of films (still
far more than one).  I'd especially recommend BALTHASSAR (hint: It's
not really about a donkey) and MOUCHETTE.  He's also provoked some very
interesting commentary from Paul Schrader (who grouped his
"transcendental style" with Ozu and Dreyer) and David Bordwell (see his
analysis of PICKPOCKET in NARRATION IN THE FICTION FILM), among many
others.

Don Larsson

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Donald Larsson
Minnesota State U, Mankato
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