Even if it's very stern, even if it's "Mouchette
" by Bresson, it is sexy.
In most other instances, however, only a recording was produced, such as the soundtracks for Mouchette
or Revolution d'octobre (both from 1967).
The Reverend Colby Mouchette
of Tuscaloosa, Alabama, performed the traditional double-ring ceremony before a large wooden cross draped with beautiful greenery and flowers.
By many measures Bresson was a minimalist, but as anyone who has sobbed through the struggles of Mouchette
or the death throes of Balthazar knows well, he strove for maximal effects, "thinking first and foremost of the end," as he put it, quoting Leonardo.
Kaethler uses Joseph Ratzinger's account of the intrinsically relational nature of the self as an exegetical tool for reading Bernanos's Mouchette
and the more-widely known Diary of a Country Priest.
Reminiscent of Bresson's "Mouchette
," this searingly bleak character study won the Dardennes their first Palme d'Or.
Alem disso, se consideramos as obras do repertorio classico pre-existente utilizadas por Bresson em toda a sua filmografia, vemos um predominio do periodo barroco, como os trechos de Lully, em Pickpocket (1959), de Monteverdi, em Mouchette
(1967) e O diabo provavelmente (1977), de Purcell, em Uma mulher suave (1969), e de Bach, em O dinheiro (1983).
In the late 1960s, Bresson made two films--Au Hasard Balthazar (1966) and Mouchette
(1967)--that Price claims changed the filmmaker's concern with language and domination from relations between men to the relationship between man and animal.
On his way home Donissan's divine gift is put to the test for the first time when he meets the young, rebellious Mouchette
. She has killed her secret lover in the prologue of the novel and wanders about the roads in agony, deeply marked by her crime, but in rebellion against God.
Looking at a total of 11 films, including Diary of a Country Priest, Mouchette
, Lancelot du Lac, and The Devil Probably, Price shows how Robert Bresson's early style was a model for social resistance, and how, after 1968, his films were a series of reflections on the failure of the revolution in France.