A movie log formerly known as Bookishness / By Charles Matthews
"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Wednesday, October 7, 2015
Of all the celebrated masterworks of film, Bresson's Diary of a Country Priest may be the most uncompromising in making the case for cinema as an artistic medium on the same level as literature and music. In comparison, what is Citizen Kane but a rather blobby melodrama about the rise and fall of a newspaper tycoon? Even the best of Hitchcock's oeuvre -- in which I would include Notorious (1946), Rear Window (1954), and North by Northwest (1959), while others would cite Vertigo (1958) and Psycho (1960) -- is little more than crafty embroidery on the thriller genre. The highest-praised directors, from Ford, Hawks, and Kurosawa to Godard, Kubrick, and Scorsese, never seem to stray far from the themes and tropes of popular culture. Even a film like Ozu's Tokyo Story (1953) falls back on sentiment as a way of engaging its audience. But Bresson strives for such a purity of character and narrative, down to the refusal to use well-known professional actors, and such a relentless intellectualizing, that you can't help comparing his film favorably to the great works of Flaubert or Dostoevsky. Having said that, I must admit that it's a work much easier to admire than to love, especially if, like me, you have no deep emotional or intellectual connection to religion -- or even an outright hostility to it. Does the suffering of the sickly young priest beautifully played by Claude Laydu really result in the kind of transcendence the film posits? Are the questions of grace and redemption real, or merely the product of an ideology out of tune with actual human experience? What explains the hostility he encounters in the village he tries to serve: the work of the devil or the bleakness of provincial existence? On the other hand, just asking those questions serves to point out how richly condensed is Bresson's drama of ideas. I love the movies I've cited above as somehow lacking in the intellectual seriousness of Bresson's film, but there's room in the pantheon for both kinds of film.