Robert Bresson

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Robert Bresson
BirthplacePuy-de-Dôme, Auvergne, France
Film director, screenwriter

Bresson, Robert

(rôbĕr` brĕsôN`), 1901–99, French film director and scriptwriter, b. Bromont-Lamottie, France. Bresson's films tend to be austere, unadorned, and concerned more with intellectual and spriritual values than plot or character. He evinced a unique aesthetic and spiritual approach to cinema in the 13 films he made during the course of 40 years. Bresson attempted to avoid the theatrical, preferring to use nonprofessional actors in scripts with a minimum of dialogue and creating images of nearly abstract simplicity. His films include Les Dames du Bois de Bologne (1944), The Diary of a Country Priest (1950), A Man Escaped (1956), Pickpocket (1959), The Trial of Joan of Arc (1965), Au Hasard, Balthazar (1966), Mouchette (1966), Lancelot of the Lake (1974), and Money (1983).


See I. Cameron, ed., The Films of Robert Bresson (1970) and T. Pipolo, Robert Bresson: A Passion for Film (2010).

Bresson, Robert


Born Sept. 25, 1907, in Bromont-la-Mothe, Auvergne. French film director.

Bresson studied painting and was an assistant director and a scriptwriter. His first full-length film was Angels of Sin (1943). Subsequent films included Ladies of Bois de Boulogne (1945, based on the theme of D. Diderot’s novel Jacques the Fatalist) and Diary of a Country Priest (after G. Bernanos; 1950). His most significant work was The Condemned One Escaped (1956). Bresson’s work is characterized by a keen interest in problems of morality; the action of his films is devoid of ostentatious effects and inherently charged with drama and emotion. Among his other films are The Trial of Joan of Arc (1962), Balthazar by Chance (1966), Mouchette (1967), and A Gentle Creature (after Dostoevsky; 1968). A considerable number of Bresson’s films have been awarded prizes at international film festivals.


Estève, M. Robert Bresson. [Paris, 1966.] (Bibliography.)
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Perhaps knowing that Bresson sometimes sadistically put his actors through countless, repetitive retakes, searching for the ideal neutrality of speech or gesture, the otherwise benevolent brothers similarly put their actors through laborious rehearsals and punishing retakes, most infamously during the shoot of Rosetta's final calvary, during which the suicidal girl (Emilie Dequenne)--physically burdened and psychically tormented, as so many of Dardennes' characters are--hauls the heavy propane tank she intends to use to asphyxiate herself.
A statement by the Interior Ministry said that al-Asadi Bresson met today at the headquarters and reviewed with him the developments in the security situation and the efforts of the Iraqi security forces in defeating the forces of terrorism and cracking down on crime in Iraq.
Paul Schrader, for instance, in discussing the style of film-making he characterizes as transcendental, privileges the following: a lack of external ostentation (no lightning bolts carving out the 10 commandments, no grand dances or orgiastic scenes in Herod's palace); a general nonexpressiveness (no looks of shock or awe or quivering lips connoting being touched by the divine); and a shunning of what director Robert Bresson called "screens" (clues that inform a viewer what to inspect or how to feel) (1972, p.
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The film, directed by Robert Bresson, premiered at the 1966 Venice Film Festival, where it won the OCIC Award.
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He continues to make the environment as comfortable as possible for the child," added FBI spokesman Paul Bresson.
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