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. Another recent film industry death: Jill Craigie, the British political documentary producer and director, last Sunday. The films she'll mainly be remembered for (among a very small number of survivors from the period), I guess, are OUT OF CHAOS (UK 1943), about Henry Moore and the Blitz, THE WAY WE LIVE (1946) on the town planning movement and the reconstruction of Plymouth after WWII (during filming she met Michael Foot, her husband and former leader of the Labour party in the 1980s, who was the Labour candidate for a Plymouth constituency in the 1945 general election), and BLUE SCAR (1949), on the nationalisation of the British coal industry. My PhD thesis, on 'The Non-Fiction Film in Britain, 1945-51', discusses her work in some detail. I knew she was still alive when I started researching and always had it in mind to try and make contact, but never made the effort to do so. L ------------------------------------------------------ Leo Enticknap Projection and sound engineer - City Screen Cinemas Ltd. Tel. 0410 417383 email: [log in to unmask] ---- Online resources for film/TV studies may be found at ScreenSite http://www.tcf.ua.edu/ScreenSite