Les dames du Bois de Boulogne (1945)
Country: FR
Technical: bw 90m
Director: Robert Bresson
Cast: Maria Casarès, Paul Bernard, Elina Labourdette
Synopsis:
A woman breaks off her relationship with a man who she senses has ceased to love her, and quietly arranges for him to meet and be entranced by a dancer on hard times.
Review:
The title would be enough for any French audience to guess at the true depths of Agnès's fall in the film, and the appropriateness of Hélène engineering their meeting there (it is a long-established haunt of prostitutes). Naturally, Bresson allows little of this to reveal itself openly, and the film is an awkward affair, lacking the treatment it deserved from a Clouzot, say, and yet depriving its director of the prime materials he would ultimately need to express himself. Casarès was a star, and she dominates the film.
Country: FR
Technical: bw 90m
Director: Robert Bresson
Cast: Maria Casarès, Paul Bernard, Elina Labourdette
Synopsis:
A woman breaks off her relationship with a man who she senses has ceased to love her, and quietly arranges for him to meet and be entranced by a dancer on hard times.
Review:
The title would be enough for any French audience to guess at the true depths of Agnès's fall in the film, and the appropriateness of Hélène engineering their meeting there (it is a long-established haunt of prostitutes). Naturally, Bresson allows little of this to reveal itself openly, and the film is an awkward affair, lacking the treatment it deserved from a Clouzot, say, and yet depriving its director of the prime materials he would ultimately need to express himself. Casarès was a star, and she dominates the film.
Country: FR
Technical: bw 90m
Director: Robert Bresson
Cast: Maria Casarès, Paul Bernard, Elina Labourdette
Synopsis:
A woman breaks off her relationship with a man who she senses has ceased to love her, and quietly arranges for him to meet and be entranced by a dancer on hard times.
Review:
The title would be enough for any French audience to guess at the true depths of Agnès's fall in the film, and the appropriateness of Hélène engineering their meeting there (it is a long-established haunt of prostitutes). Naturally, Bresson allows little of this to reveal itself openly, and the film is an awkward affair, lacking the treatment it deserved from a Clouzot, say, and yet depriving its director of the prime materials he would ultimately need to express himself. Casarès was a star, and she dominates the film.