- Actors: Paul Bernard, María Casares, Elina Labourdette, Lucienne Bogaert, Jean Marchat
- Directors: Robert Bresson
- Writers: Robert Bresson, Denis Diderot, Jean Cocteau
- Producers: Raoul Ploquin
- Format: Black & White, DVD-Video, Subtitled, NTSC, Import
- Language: French
- Subtitles: English
- Region: (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
- Aspect Ratio: 1.33:1
- Number of discs: 1
- MPAA Rating:
- Studio: Criterion
- Release Date: Mar 11 2003
- Run Time: 86 minutes
- Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)
- ASIN: B000087EY6
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Product Details |
Product Description
From Amazon.com
Robert Bresson's second movie, a melodrama of love, jealousy, revenge, and redemption, is haunted by an uneasy tension between Bresson's ambitions and his directorial compromises. A beautiful but jealous high-society woman (Maria Casarès) tries to spark her longtime lover (a rather wan Paul Bernard) into a declaration of commitment by staging a breakup, and to her horror he agrees to the separation. Seething with resentment, she plots an elaborate vengeance involving getting him to fall in love with a young dancer who "entertains" to support her poverty-stricken family ("I'm no better than a prostitute!" she declaims to her mother), leading to a public disgrace--a grand melodramatic gesture presented with quiet understatement. Using professional actors and a script polished by Jean Cocteau (adapted from the novel Jacques de Fataliste et son Maitre by Denis Diderot), the film is marked by the stylized dialogue and psychologically shaded performances of classical French cinema which Bresson's later films reject. The director's hand can be seen in the austere sets and compositions, the tempered performances, and the moving, spiritually rich conclusion. While it's not Bresson's best work by his own admission, he tames the drama with a rigor that fully flowers in his next film, Diary of a Country Priest. --Sean Axmaker
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Customer Reviews
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Most helpful customer reviews
5.0 out of 5 stars
Bresson a million carats film maker!,
By
This review is from: Les Dames Du Bois De Boulogne (DVD)
Helene (Maria Casares)is a passionate but also a cool woman who falls in love with Bernard . The sad day arrives when Bernard confess her he no longer loves her. This is the starting point of a careful revenge from the inner depths from her soul against Labourdette and her mother.The script is overknown. But in hands of Bresson it became in another masterpiece in his career. Bresson was a man concerned around the huge possibilities of visual expressions; so you may consider all his films as mude films with unnecesary subtitles. Bresson belongs to a reduced category of giants filmakers such as Dryer, Murnau or Renoir but gifted of poetic atmosphere since the opening sequences of any of his previous or next films. If you 're really interested in his filmography you'll find out such hidden treasures that you'll convince by yourself that Bresson is not only enoughly known even today, but he's a genius in the caleidoscopic sense of the word. The minimalism is a concept that I disagree in Bresson's case. His spiritual concerns hardly may be entitled ; the genius is always contemporean and that is why he escapes to any reduced category. This film must have been a true revelation in its age. Jean Delanoy for instance won a deserved triumph in Cannes with the Pastoral Symphony, for instance , but you feel that Delanoy is in a lineal level ; he's just a storyteller without the bliss of Bresson. "The art and nothing more the art ; we live from the art for not dying from the truth" Nietszche.
5.0 out of 5 stars
10 Stars; a masterpiece; One of the great French films,
By A Customer
This review is from: Les Dames Du Bois De Boulogne (DVD)
I hadn't seen this one before & now, thanks to Criterion, I've seen it 5 times in two weeks, that's how great it is, & that's how obsessed I am with Bresson's incredible, ultra-subtle style of speaking volumes with the unsaid, the unspoken in the images, or what Andre Bazin called the 'ellipsis.' This film actually was a popular success at the time & is Bresson at his most romantic within his already estabished less-is-more strategy; a more passionate version of his later more austere visual style, here it flows like a great piece of music, like something out of the best Mozart or Beethoven (the beautiful soundtrack is also similar to 19th century classical mixed with Ravelian modernity), & stands-up to any number of repeat viewings, long after the very simple story of manipulation & revenge & all the Cocteau dialogue itself is known by heart. The cinematography is a breathtakingly shaded, soft, almost silent-film-like black-&-white by Philip Agostini (Le Jour se leve, Rififi) & though the camera moves constantly you are never ever aware of it unless you look for it; it never draws attention to itself. The level of acting Bresson gets out of all four leads --Maria Casares, Lucienne Bogaert, Elina Labourdette & Paul Bernard-- is just spectacular, untouchable, unbelievably great. Maria Casares takes the cake though, she is just electrifying & oozes a level of mystery, mischief & upper-class-noir Bette Davis & Gloria Swanson never dreamed of (just compare this to the 'good girl' she played in 'Les Enfants du Paradis,' as Baptiste's wife). The print they transferred to DVD isn't perfect like certain other restored films of this period such as "Les Enfants Du Paradis," & has quite a few tracer lines & imperfections through it which they cleaned up to the extent they could. However, this is still an essential DVD purchase for anyone even remotely interested in the great films of French cinema, & Criterion is to be commended for making it available to the public at large, so they don't have to wait 5 years for rare screenings to experience true art & true artists at work.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
4.2 out of 5 stars (12 customer reviews) 17 of 18 people found the following review helpful
5.0 out of 5 stars
10 Stars; a masterpiece; One of the great French films,
By A Customer - Published on Amazon.com
This review is from: Les Dames Du Bois De Boulogne (DVD)
I hadn't seen this one before & now, thanks to Criterion, I've seen it 5 times in two weeks, that's how great it is, & that's how obsessed I am with Bresson's incredible, ultra-subtle style of speaking volumes with the unsaid, the unspoken in the images, or what Andre Bazin called the 'ellipsis.' This film actually was a popular success at the time & is Bresson at his most romantic within his already estabished less-is-more strategy; a more passionate version of his later more austere visual style, here it flows like a great piece of music, like something out of the best Mozart or Beethoven (the beautiful soundtrack is also similar to 19th century classical mixed with Ravelian modernity), & stands-up to any number of repeat viewings, long after the very simple story of manipulation & revenge & all the Cocteau dialogue itself is known by heart. The cinematography is a breathtakingly shaded, soft, almost silent-film-like black-&-white by Philip Agostini (Le Jour se leve, Rififi) & though the camera moves constantly you are never ever aware of it unless you look for it; it never draws attention to itself. The level of acting Bresson gets out of all four leads --Maria Casares, Lucienne Bogaert, Elina Labourdette & Paul Bernard-- is just spectacular, untouchable, unbelievably great. Maria Casares takes the cake though, she is just electrifying & oozes a level of mystery, mischief & upper-class-noir Bette Davis & Gloria Swanson never dreamed of (just compare this to the 'good girl' she played in 'Les Enfants du Paradis,' as Baptiste's wife). The print they transferred to DVD isn't perfect like certain other restored films of this period such as "Les Enfants Du Paradis," & has quite a few tracer lines & imperfections through it which they cleaned up to the extent they could. However, this is still an essential DVD purchase for anyone even remotely interested in the great films of French cinema, & Criterion is to be commended for making it available to the public at large, so they don't have to wait 5 years for rare screenings to experience true art & true artists at work. 7 of 7 people found the following review helpful
4.0 out of 5 stars
Not for Bresson fans only,
By A Customer - Published on Amazon.com
This review is from: Ladies of Bois De Bologne (VHS Tape)
Although the later, experimental Bresson films are great in their own right, this early film should appeal to everyonewho enjoy beautifully made conventional cinema. Jean Cocteau's dialogue is witty, elegant, musical, stylized yet psychologically insightful. The scenes are as elegant, economical, and lucid as in the best of the well-made play tradition. Any playwright or screenwriter could take lessons from this film. Bresson brings his usual interest in religious issues (free will and the evil of the attempt of one person to have control over another) to the melodramatic story--melodramatic in the best sense, too, bringing to mind Henry James, Tennessee Williams, and Euripides. Maria Casares (the Poet's Death in Cocteau's "Orpheus") is brilliant--even iconic-- as a Dark Lady motivated by love to commit an awful (psychological) act of revenge. The gamine actress who becomes her unwitting instrument is rather irritating at first, but gradually grows on one in subsequent viewings. Besides his interest in spiritual issues, Bresson also brings an overall austerity of style to the film--which he abandons only in the final scene, whose lush cinematography (reminiscent of the cinematography in Ingrid Bergman's very similar sickbed scene at the climax of Hitchcock's "Notorious") heightens the amazing emotional/spiritual impact of the finale. Lyrical, psychological, classical, spiritual, deeply emotional--this film is one-of-a-kind. 5 of 5 people found the following review helpful
5.0 out of 5 stars
More Cocteau than Bresson,
By Phoust - Published on Amazon.com
This review is from: Les Dames Du Bois De Boulogne (DVD)
`Les Dames du Bois de Boulogne' was directed in 1945 by: Robert Bresson (Diary Of A Country Priest, 1950; A Man Escaped,1956; Pickpocket, 1959; Au Hasard Balthazzar, 1966) The screenplay was adapted from the Denis Diderot short story `Jacques The Fatalist' by poet, artist and director Jean Cocteau (La Belle Et La Bete, 1946; Orphee, 1949). This seems an odd coupling because their work as directors is in complete contrast and because of the dialogue it makes this film feels more like a Cocteau film. This is however was only Bresson's second film and what would be determined as Bressonian, his lack of theatre and visually austere style, would only be developed in his subsequent the film of the 1950s.Bresson used actors (he would later use non-professional or `models') in this film the most notable being Maria Caseras (Le Enfants Du Paradis, 1945; Orphee,1949) whom astute critics at the time compared to Joan Crawford who had just starred in `Mildred Pierce' (1945,Curtiz) and the following years `Possessed' (1946, Bernhardt). It is that manipulative femme fatale role that is the defining quality of this, which could be considered, French film noir. Cinematography was by Philippe Agostini who had shot the now famous poetic realist `La Jour Se Leve' (1939, Carne) a cinematic movement that was instrumental in the development of American film noir. He would later work on `Le Plaisir' (1952, Ophuls) and `Riffifi' (1955, Dassin) both being stylistically brilliant films. `Les Dames du Bois de Boulogne' may in the end be good Cocteau but not so good Bresson. |
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