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Tagebuch eines Landpfarrers

Originaltitel: Journal d'un curé de campagne
  • 1951
  • 12
  • 1 Std. 55 Min.
IMDb-BEWERTUNG
7,7/10
13.266
IHRE BEWERTUNG
Nicole Ladmiral and Claude Laydu in Tagebuch eines Landpfarrers (1951)
A young priest taking over the parish at Ambricourt tries to fulfill his duties even as he fights a mysterious stomach ailment.
trailer wiedergeben3:59
1 Video
74 Fotos
Drama

Ein junger Priester, der die Gemeinde in Ambricourt übernimmt, versucht, seine Pflichten zu erfüllen, sogar während er gegen eine mysteriöse Magenerkrankung kämpft.Ein junger Priester, der die Gemeinde in Ambricourt übernimmt, versucht, seine Pflichten zu erfüllen, sogar während er gegen eine mysteriöse Magenerkrankung kämpft.Ein junger Priester, der die Gemeinde in Ambricourt übernimmt, versucht, seine Pflichten zu erfüllen, sogar während er gegen eine mysteriöse Magenerkrankung kämpft.

  • Regie
    • Robert Bresson
  • Drehbuch
    • Georges Bernanos
    • Robert Bresson
  • Hauptbesetzung
    • Claude Laydu
    • Nicole Ladmiral
    • Jean Riveyre
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,7/10
    13.266
    IHRE BEWERTUNG
    • Regie
      • Robert Bresson
    • Drehbuch
      • Georges Bernanos
      • Robert Bresson
    • Hauptbesetzung
      • Claude Laydu
      • Nicole Ladmiral
      • Jean Riveyre
    • 66Benutzerrezensionen
    • 50Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Nominiert für 1 BAFTA Award
      • 7 Gewinne & 3 Nominierungen insgesamt

    Videos1

    Trailer [OV]
    Trailer 3:59
    Trailer [OV]

    Fotos74

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    Topbesetzung18

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    Claude Laydu
    Claude Laydu
    • Priest of Ambricourt (Curé d'Ambricourt)
    Nicole Ladmiral
    • Chantal
    Jean Riveyre
    • Count (Le Comte)
    Adrien Borel
    • Priest of Torcy (Curé de Torcy)
    • (as Andre Guibert)
    Rachel Bérendt
    • Countess (La Comtesse)
    • (as Marie-Monique Arkell)
    Nicole Maurey
    Nicole Maurey
    • Miss Louise
    Martine Lemaire
    • Séraphita Dumontel
    Antoine Balpêtré
    Antoine Balpêtré
    • Dr. Delbende (Docteur Delbende)
    • (as Balpetre)
    Jean Danet
    • Olivier
    Gaston Séverin
    • Canon (Le Chanoine)
    • (as Gaston Severin)
    Yvette Etiévant
    Yvette Etiévant
    • Femme de ménage
    Bernard Hubrenne
    • Priest Dufrety
    Léon Arvel
    • Fabregars
    Martial Morange
    • Deputy mayor (L'Adjoint)
    Gilberte Terbois
    • Mrs. Dumouchel (Mme Dumouchel)
    Serge Bento
    • Mitonnet
    • (as Serge Benneteau)
    Germaine Stainval
    • La patronne du café
    • (Nicht genannt)
    François Valorbe
    • Bit Role
    • (Nicht genannt)
    • Regie
      • Robert Bresson
    • Drehbuch
      • Georges Bernanos
      • Robert Bresson
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen66

    7,713.2K
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    Empfohlene Bewertungen

    10FilmSnobby

    Pretty much perfect.

    *Diary of a Country Priest* is a nearly perfect film. Made in 1950, this film benefits from Bresson being at the height of his powers. As he aged, the slow, measured, static style became more and more mannered, or more and more intolerable, shall we say. But here he doesn't go overboard: the mood is portentous rather than pretentious. And in any case, it's not as slow as you may think: there are probably hundreds of cuts in the film (this ain't no Carl Th. Dreyer movie). Along those lines, Bresson's method of adaptation -- which is to distill the ESSENCE of the chosen work -- is stringently economical and pared to the bone. In other words, the thing doesn't simply dawdle along. Based on a 1930's novel by a right-wing Euro novelist, *Diary* details the sad experiences of a young priest with health problems who is assigned to a new parish. The villagers treat the young man with hostility and downright scorn. Sensing and resenting the new priest's obvious holiness (everybody hates a saint), they ridicule him, shut him out of their confidences, send threatening anonymous notes ("I feel sorry for you, but GET OUT") . . . to all of which our hero responds with a sort of confused empathy. Meanwhile, Bresson uses a striking narrative device: we see the priest writing in his diary, while VOICING OVER what he's writing, and then there's a cut to a scene which SHOWS the action the priest has just been writing (and narrating) about. This complex, layered style proves to be more than a fair trade-off for the paucity of actual narrative incidents. We're invited to ponder an event's significance -- a lucky thing, because the action is quite often so psychologically complex that we need room to breathe, to think things over. Don't presume to form an opinion of *Diary* until you've seen it at least twice. Sounds like homework, I know, but so does *King Lear*. Great art IS homework.

    Perhaps the film's true value is its delineation of just how stagnant and unpleasant little towns can be. Again Bresson is inventive: rather than simply show us the putrid little village, the director instead opts for an oblique approach, inviting us to IMAGINE just how putrid the village actually is, usually by heightening off-screen sound effects. Quite often, we hear unpleasant things like motorcycles backfiring, rakes running over asphalt, crows screeching, mean-spirited giggling outside a window, iron gates slamming shut, and so on.

    And finally, it must be said that it's surprising how avowed agnostic directors make the most persuasive religious movies. In my view, this film and Dreyer's *Ordet* remain the greatest films about Christianity in the history of cinema (the conversion scene in the middle of *Diary* might prompt you to go to church next Sunday). Anyway, *Diary of a Country Priest* is an unassailable, influential masterpiece that's a MUST-OWN for the true cineaste, and a possible education in art for everybody else. Get the new Criterion edition, watch it twice, and listen to Peter Cowie's commentary. I assure you that it won't be a waste of your time.
    10jameskinsman

    A rewarding experience

    Journal d'un cure de Campagne is about a young priest who, whilst suffering from an illness, is assigned to a new parish in a French country village. The story is told by the priests recounting of his experiences in his diary. This itself is a powerful narrative device, as we not only understand the experiences of the protagonist, but also how he reflects upon them with hindsight, relating his observations to faith and human nature. As he carries out his duties in his new parish though, he is treated with animosity and hatred by many of the villiagers, because they see him as an unwanted intrusion into their lives. As he becomes estranged, and to an extend outcast by the townspeople, he increasingly relies on his faith for strength and comfort, however even this begins to fade as he witnesses the townspeople purvey sinful and malicous behaviour, damaging his faith in human nature.

    The films of Robert Bresson, although wonderful, can at times seem austere almost to the point of being drained of any emotion. Before passing judgement though, it is important to understand his aims and understanding of film making. Bresson believed that the theatrical performing of actors had no place in cinema, and so typically cast non-actors for his films. The reason for his desire to suppress performing, was to avoid the melodramatic histrionics common with conventional acting as he believed it shortchanges the complexities of human emotion that in real life are much more subtle and not always on the surface. A large part of who we are he believed, is determined by experience, circumstance and environment. These elements affect the way we 'perform' and obscure who we are at the core essence of our being. Bresson was much more concerned with this person, whom we are when all our affectations are removed and we are laid bare. In Diary of a Country Priest, Bresson had Claude Laydu repeat scenes many times in order so that he would rid himself of all natural desire to perform. This suppressed emotion re-introduces the intricately nuanced expression, replacing the scenes with a delicate and contemplative lilt. Like Ozu, another master of character expression and portrayal, Bresson proves that by adopting this method in conjunction with his wonderful compositions, it forces the viewer to replace the lack of gratuitous emotion with their own feelings, resulting in moments of genuine pathos and emotion.
    9jmverville

    Most Unique Film

    This story was very influential and moving in many ways, seeing the afflictions of the Priest and the way that he deals with the animosity of his town are truly interesting. It depicts, very well, the life of a young man (who appears very boyish throughout the entirety of the film) not just living as a Priest, but also living as a sort of outcast -- it shows very well what the inter-workings of this Priest's, this outcast's brain is like, and it shows the human emotionality very well.

    From the beginning to the end of the film I was fascinated with the main character, and his goals and his aims, his beliefs and his passionate inclination to helping others -- rarely do you see such great work done in putting the spotlight on the character. Bresson truly shows himself to be a master of character depiction. Anyone who has ever experienced awkward social circumstances or has ever felt alienated can immediately relate to the Father.

    I found the dialogue in this film to be at times absolutely shocking & amazing, and the actors to be filled with a lot of feeling; there are parts in this film that I will remember forever because of the fabulous writing and acting. You rarely see a film with as much poignant & sharp character interaction as this; I found myself always anticipating the next meeting that the Father would have with certain characters, always anticipating more of the amazing dialogue.

    For those who are interested in religion, this film really hits the nail on the head. I feel that, although it is very much inclined towards Christianity and Christian thought, it was in no way overbearing and nor would it take away from the film for a non-Christian. In fact, what makes the dialogue so sharp is the debates and self-doubt that we see the Priest have from time to time. Overall, a terrific film and study of social relationships.
    8millertere

    Fight to keep faith

    This is a deeply religious film. It conveys anguish and despair. It may seem depressing but you find hope. It is a great movie made with a very slow rhythm that fits perfectly with the life and the thoughts of the priest. Each scene fades to black slowly into the next and leaves you waiting with that sense of "nothing" that tortures the priest. It is intense in the dialogs, although you may have to see it several times before you can really "catch" them. The struggle to believe, to persevere, to find, to know is common to all the characters in different ways. "Before me, a black wall" says th priest; I think, we all had similar thoughts, at least once in our lives.
    8phoeniks-1

    Doubt of the soul

    That Robert Bresson's (1907-1999) films is somewhat hard to digest must be the understatement of the century. But for those who feel entangled in the most profound questions of the human existence, this movie must seem like a harrowing thriller! All others will probably be more or less indifferent to the escapades of a young priest in a small french village. Bresson's movies are among the most unique in the history of motion pictures; they are like nothing else I have ever seen and the themes are somewhat innovative. That is, the storyline are simple, but in all his films he deals with tormented people and the main theme seems to be the search for freedom and the futile battle against the human conditions. In a sense he is the most pessimistic of all directors, not only the french, but in a strange way he is perhaps the one that is closest to the truth and to life itself.

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    Handlung

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    • Wissenswertes
      The hand and handwriting in the film belong to Robert Bresson.
    • Zitate

      [subtitled version]

      Countess: Love is stronger than death. Your scriptures say so.

      Curé d'Ambricourt: We did not invent love. It has its order, its law.

      Countess: God is its master.

      Curé d'Ambricourt: He is not the master of love. He is love itself. If you would love, don't place yourself beyond love's reach.

    • Verbindungen
      Featured in Geschichte(n) des Kinos: Les signes parmi nous (1999)

    Top-Auswahl

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    Details

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    • Erscheinungsdatum
      • 8. April 1952 (Westdeutschland)
    • Herkunftsland
      • Frankreich
    • Sprache
      • Französisch
    • Auch bekannt als
      • Diary of a Country Priest
    • Drehorte
      • Eglise, Equirre, Pas-de-Calais, Frankreich
    • Produktionsfirma
      • Union Générale Cinématographique (UGC)
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Bruttoertrag in den USA und Kanada
      • 47.000 $
    • Eröffnungswochenende in den USA und in Kanada
      • 7.674 $
      • 27. Feb. 2011
    • Weltweiter Bruttoertrag
      • 47.000 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 55 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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    Nicole Ladmiral and Claude Laydu in Tagebuch eines Landpfarrers (1951)
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