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Perhaps the most accessible of Robert Bresson's films, this story of a 14-year-old schoolgirl at the mercy of the world around her is like a melodrama stripped of flourish. Mouchette is an angry adolescent in the French provinces, the daughter of a drunken bootlegger and a dying, bedridden mother, a pariah in school and a figure of village gossip. She rebels in typically adolescent ways, lobbing mud at teasing classmates and defying wagging tongues with a willful stare, but her deep pain and loneliness pour from her hollow, sad eyes. There's no sentimentality in Bresson's portrait of village life, but for a few brief moments the film explodes with energy and emotion. Mouchette rides the bumper cars at a local fair, flirting with a young boy in loving bumps and deliberate rams, and her dour expression flowers in a smile as the fairground speakers blare a rock & roll tune... until her father's heavy hand slaps her back to reality. It's a moment unlike any other in a Bresson film, a joyous reprieve from the monotony of her life, but if the rest of her existence is glum and hopeless, the film is unexpectedly beautiful. The style is often fragmented--the film opens on a stunning play of hands, feet, and spying eyes as poacher and police both wait for their prey--but the beauty of the forests and meadows creates an idyllic naturalism that leavens Bresson's harsh portrait of the human condition. --Sean Axmaker
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Most helpful customer reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars
Another Of Bresson's Natural/Supernatural Miracles.,
By artist with no country (gachis) - See all my reviews
This review is from: Mouchette (VHS Tape)
This superb film is one of the most moving examples not only of the genuine spiritual quality of Bresson's work, but also of the unique beauty of the amazing 'flat' images that Bresson created with a 50mm lens. The first scene alone, with the two rival men spying on each other, is worth the price of the cassette. But there is so much more to come.This film has a lovely naturalistic surface feel to it, but as with all of Bresson's work, we are really watching a supernatural reality. As the unhappy story of the poor, teenage, village girl,Mouchette, unfolds, this naturalism becommes more and more haunted by the energy of the dark spiritual condition of the people that surround her. This condition is as horrid and nightmarish as a Bosch painting of hell, but of course Bresson never uses anything other than the most ordinary naturalistic images. This dark environment drives Mouchette to the point where she chooses to take her own life. But the extended scene of Mouchette's suicide is, by the simplest of means, made so incredibly moving and disarming in its innocence that, even if you can not make sense of it, you can not fail to feel that you have witnessed a spiritual event. No one but Robert Bresson could have achieved this. Please, even if you do not like my review, watch this film by one of the few true geniuses of cinematic art.
5.0 out of 5 stars
from Shirley Jackson to Jim Thompson,
By Yumi "Yumi" (LA CA USA) - See all my reviews
This review is from: Mouchette (VHS Tape)
The first scene is of a bird caught in a snare fluttering madly to escape, then a hand rescues the bird and lets it free.Bresson depicts the utter malice than can lay behind a rural community to the abject meanness of poverty.
Mouchette finally needs to confess something to her mother, possibly the only time she has asked for help or advice but at that moment , her mother dies. Altho my description may sound melodramatic, the movie is not.It doesn't try to play on your emotions. The last scene is haunting and unforgettable. This is a most beautiful movie.
5.0 out of 5 stars
best movie,
By
This review is from: Mouchette (VHS Tape)
i've only watched it twice but so many moments are burned into my memory forever. it's something ineffable in the tilt of every shot, the slow, predestined precision of every movement of the figures ('actors' is not the right word for a bresson movie), the supernatural evocativeness of every facial expression, the densely but subtly arranged, teasing interplay of sound and image that builds up through the whole film until both sound and image come to an end in the only suicide on film that is truly a miracle. each moment is an icon painted on slate and clearly visible only by the light of a candle in its own chamber in a dark and infinite church to which my mind will always have access though i'll never know the way there.
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