So, first post and such. I'll try to write as much about films I watch, films I love, films I never intend to see, films I will watch, and film in general, as I can. I'm not so hot with introductions, nor am I great with summarizing films, and odds are you're not reading this anyway.
Earlier tonight was Les Dames du Bois de Boulogne. I've only seen Diary of a Country Priest before, which went over my head in some respects, but I enjoyed Les Dames. The real star of the show were the dialogue (by Cocteau) and the plot itself. A woman scorned by her ex-lover dupes him into unwittingly falling for a tramp. It was only Bresson's second picture, and I understand he didn't develop his minimalist style (or lack thereof, perhaps) until a few pictures into his career, so there are some cinematic flourishes in the film. One in particular I loved, where Jean opens the door for Helene and makes a remark, from which the conclusion can be drawn that he's interested in Agnes, and as he walks around the front of the car, Helene's head and eyes turn slowly to follow his every move. The camera is stationary, so her head slowly turns to reveal a sly smile on her face; her plan is unfurling nicely.
If anything, Les Dames made me more excited to get my hands on Au hasard Balthazar. It's on the top of my Netflix and BBO queues, and I'm dying for a chance to sneak in and grab it. The Criterion disc for Les Dames is pretty much what you'd expect. A grand restoration, held back by the deteriorating print from almost 60 years ago. Clean mono sound, slightly brash, and a pair of essays in the book.
Earlier tonight was Les Dames du Bois de Boulogne. I've only seen Diary of a Country Priest before, which went over my head in some respects, but I enjoyed Les Dames. The real star of the show were the dialogue (by Cocteau) and the plot itself. A woman scorned by her ex-lover dupes him into unwittingly falling for a tramp. It was only Bresson's second picture, and I understand he didn't develop his minimalist style (or lack thereof, perhaps) until a few pictures into his career, so there are some cinematic flourishes in the film. One in particular I loved, where Jean opens the door for Helene and makes a remark, from which the conclusion can be drawn that he's interested in Agnes, and as he walks around the front of the car, Helene's head and eyes turn slowly to follow his every move. The camera is stationary, so her head slowly turns to reveal a sly smile on her face; her plan is unfurling nicely.
If anything, Les Dames made me more excited to get my hands on Au hasard Balthazar. It's on the top of my Netflix and BBO queues, and I'm dying for a chance to sneak in and grab it. The Criterion disc for Les Dames is pretty much what you'd expect. A grand restoration, held back by the deteriorating print from almost 60 years ago. Clean mono sound, slightly brash, and a pair of essays in the book.
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