Los ángeles del pecado

This first Bresson effort has not worn well.The director himself did not like it,and it is sure easy to see why.A non -French audience will not notice it,but the actresses here are professional,some of them were stars of the era.The great Sylvie,Renée Faure,Jany Holt were famous in France when they starred in "les Anges du Péché" .Some were to become ,like Silvia Montfort,whose whining acting is in direct contrast to everything RB would do afterward .

Can today's audience relate to those characters?I have my doubts.This is an excellent documentary : a nun's life is no laughing party (for that matter,see also Zinnemann's "a nun's story" and Alain Cavalier's "Thérese").But the nun from the bourgeoisie who tries to redeem a criminal 's soul will not convince anybody,unless he absolutely loves the director.

It's little more than a Sulpician melodrama.

Contrary to what you might expect from a 1943 movie about nuns in a convent, Les Anges du Peche is fast, intense and gripping. The writing (by a Dominican priest, Raymond Bruckberger) is awe-inspiring; nearly every line of dialogue is a cluster of moral and emotional insights. Explored with great wisdom are themes of conformity and nonconformity, selfishness and selflessness, sin and redemption, love, jealousy and bitter resentment, pride and shame.

I am not sure if I have ever seen as forceful a feature debut as Bresson's. Don't overlook it - it is arguably better than his more well-regarded works.

An absorbing melodrama with great performances from Renée Faure, Sylvie and Jany Holt. Novice nun Anne-Marie, slightly worryingly over-confident, embarks on a fervent mission to redeem a particularly troubled convict, Thérèse.

The script is really strong, and particularly as it portrays the life of the convent. The saints'-wisdom-tombola and the conversation in the laundry are charming, and the ceremonies and submissions quietly powerful.

Anne-Marie's urge to do good becomes increasingly insufferable, and then unhinged to the point where she denounces the sisters' pet cat. The cat, rather than her thankless protégé Thérèse, whose response to Anne-Marie's selfless love, or perhaps her foolish religious pride, comes increasingly to the fore in a deeply moving ending.

"Les anges du peche" (Angels of sin) is situated in a monastry of the Dominicanesses from Bethany. This order gives women who have been in jail shelter and a second chance. So not al the nuns in this monastry are angels.

Sister Anne Marie however, who has not been in jail but who has joined entirely out of free will, comes close (to being an angel). Anne Marie sees it as her mission to guide one of the most difficult novices, sister Theresa. Sister Theresa has been in jail, but persists that see was innocent. "The innocent cannot forgive" is her motto.

The relationship between the angelic Anne Marie and the frustrated Theresa is the engine of the story. While watching the film I found out that I dit not always symphatize with the angelic one.

Just as Stanley Kubrick, Robert Bresson began his filmcareer as a conventional director, to develop a unique style of his own only after a few films. His debut "Les anges du peche" (1943) together with "Les dames du Bois de Boulogne" (1945) are generally considered as his two conventional movies. This maybe true for "Les anges du peche" as far as the form of the film is considered. "Les anges du peche" has a plot and the characters are played by professional actors. But the theme of the film (guilt, penitence and redemption) is as Bressonian as a theme could be. This theme fully comes into its own during the marvelous ending.

Robert Bresson's first feature film, ANGELS OF SIN examines the power of religious piety and sets the story within a Dominican convent where female ex-cons are rehabilitated, and makes great play of a professional cast.

Our angelic protagonist is Sister Anne-Marie (Faure), hailed from a well-to-do family, but resolves to devote herself to the noble work of reforming the sinner, and her prime object is Thérèse (Holt), a prisoner claims that she is innocent, and right upon her release, she takes her revenge to the man who should be accountable for her imprisonment and then joins the convent to dodge the punishment, much to Anne-Marie's delight (who doesn't twig her true purpose), who takes Thérèse under her wing.

But Anne-Marie's beneficent intention and zealous alacrity is brushed aside by Thérèse's penitence-free lying-low stopgap, who in turn, cunningly stokes discords between a naive and vivacious Anne-Marie and the more stolid and jealousy-inflamed ones whose telling opinions of the former are at once self-revealing and acrimonious, after a squabble about a black cat, its fallout has Anne-Marie ousted from the convent, but it takes her sacrificial final act (a bit sickly though) to finalize her lofty mission, redemption is achieved with haunting clarity in its solemn coda.

A rigid exercise in his craft of shaping up a spiritual parable, Bresson's self-disciplined style is in its inchoate state, stunning chiaroscuro and beatific soft focus compositions notwithstanding, the story has been retouched with a sentimental glamor mostly owing to Renée Faure's virtuous performance in the center, an effect soon Bresson would ditch roundly after THE LADIES OF THE BOIS DE BOULOGNE (1945), whereas a fiercely snarky Jany Holt manifests more stamina and inscrutability which is more likely consonant with Bresson's aesthetics.

The internal power play and peer pressure inside a convent is only scuffed without patent virulence, which saves us from another nun-demonizing diatribe and grants Bresson a more sagacious eye on religion and humanity, although ANGELS OF SIN can be hardly extolled as a groundbreaking jumping-off point from a future auteur.