Les dames du Bois de Boulogne

Les dames du Bois de Boulogne (1945) was written and directed by Robert Bresson. This movie is the second feature film by the great French director Bresson. It's the last film in which he used professional actors.

In a story somewhat reminiscent of Les Liaisons Dangereuses, two wealthy, sophisticated lovers have a parting of the ways. Hélène, played by María Casares, senses that Jean (Paul Bernard) is losing interest in her. She suggests that they separate, and he agrees. The problem is that he agrees too readily. Hélène feigns indifference, but she plots revenge.

The weapon of revenge is Agnès, played by Elina Labourdette. Agnès is a young cabaret dancer and (we understand) a prostitute. This is an ingénue role, and it's clear that Agnès is a serious dancer, forced into this role in order to support herself and her mother. The remainder of the story depicts the way the elaborate revenge scheme involving Agnès is carried out.

Labourdette and Bernard are fine actors, and both had long careers in French cinema. However, the success of the movie comes from the extraordinary appearance and acting skills of María Casares. Casares, although Spanish, had an extremely successful career on both the French stage and screen. With her lithe figure and elegant clothing, she is every inch the French socialite. She is not beautiful in a typical cinematic way. Instead, with her triangular, almost feline face, and her narrowed eyes, she is fascinating. She dominates every scene in which she appears. No one questions her motive for revenge and her ability to achieve it. Bresson directs the film--and Casares--with the hand of a master.

We saw this movie on the large screen at the excellent Dryden Theatre at Eastman House in Rochester, NY. The person who introduced the film said it was the only print in the United States at present. This print is owned by the French government, and only lent to selected institutions. A DVD is available, but may be of a somewhat different version. Still, even if the DVD isn't an ideal substitute for the print version, it's worth obtaining and seeing. This is one of the great films of French cinema. Don't miss it!

Till 1950,Robert Bresson used professional actors.This explains why those previous movies are much more accessible -and thus generally overlooked by the "true" RB connoisseurs ,this naive audience who is still thinking that French cinema did begin with him;this mindless belief was fueled by the director himself whose contempt for his colleagues was notorious ...

And like it or not,It's one of his colleagues,Marcel Carné ,who provided Bresson with his star Maria Casarès,who was featured in the absolute chef-d'oeuvre of our French cinema "Les Enfants Du Paradis" .She played the part of Natalie and was not overshadowed by Arletty,which was quite a feat!

In "les Dames...",Casares was extraordinary: in her last scenes ,when she spits her hate ,her contempt and when she savors her vengeance as she says :"You've married a hooker! I had you marry a hooker!" ,she mesmerizes her audience.After her lover had left her,she really became a spider spinning her web in which the two women and her ex would be caught up.

Jean Cocteau wrote the dialog.Maria Casarès would become one of his favorite actresses:"Orphée" and "Le Testament d'Orphée".

This film shows Bresson before he turned to using nonprofessional actors. But it's still Bresson in its austerity and economy. He demonstrates the vapidity and luxury of the idle class without overwhelming us with the accouterments. Skillfully, he moves forward the story of a scheming, jealous, vengeful society woman whose own tricks have blown up in her face.

One of your commenters complained the film was boring, but that wasn't my experience. I will grant that, if you're looking for explosions,90-degree plot turns, or uproarious comedy, you will certainly be disappointed. On the other hand, if you enjoy watching and hearing a master look into a soulless bosom, and if you enjoy sitting back while a serious artist shows us how to advance a simple but serious plot about serious people, you'll enjoy Dames.

Just after the Nazis left, Robert Bresson directed this, his second film. The story is an updated version of a tale entitled 'Jacques le Fataliste' by Denis Diderot (1713-1784), the famous radical thinker and encyclopaedist of the French Enlightenment era. Surprisingly enough, Diderot's novels and stories have been filmed 22 times between 1922 and 2013, and this one was filmed again in both 1967 and 2005. The reference to the Bois de Boulogne is because that used to be the traditional haunt of better class prostitutes. This film is a surprisingly formal, classical film for someone like Bresson. It is primarily notable for the frighteningly intense performance by Maria Casares as a beautiful woman scorned, who applies all of her energies to destroying the lover who has jilted her. It is a horrid story of relentless, maniacal feminine vengeance. Dialogue for the film was written by Jean Cocteau. Much of the film consists of recurring shots of the smouldering gaze of Casares, who scorches the viewer, the camera, the screen, and everything and everyone in sight with her sinister, scheming hatred and determination to obtain revenge. She would have been better off going for a walk in the Bois and calming down.

Worldly Parisian Helene (Maria Casares) realizes that her boyfriend Jean (Paul Bernard) has fallen out of love with her. She then sets out to secretly arrange for a relationship to form between Jean and self-loathing dancer and prostitute Agnes (Elina Labourdette). Also featuring Lucienne Bogaert, Jean Marchat, and Yvette Etievant.

Robert Bresson and melodrama are two things I wouldn't expect to see together, seeing as how the director strove in his later work to remove as much sentiment and emotion as possible from his narratives. I couldn't get into this dark soap opera much, for a few reasons. The central character of Jean is never presented in such a way as to explain why anyone, either the two ladies or the audience, should care about him at all. With Jean being such an uninspired sop, most of the rest of the story seems much ado about nothing.

Casares is good in moments as the plotting Helene, but her ever-present "cat ate the canary" smirk grows tiresome and almost comical. Why would anyone trust this woman when she constantly looks like she just poisoned you? Finally, Elena Labourdette gets the biggest emotional workout in the piece, and she seems the most natural. Still, as with Jean, the script is often vague about why these characters behave as they do. Overall, I was disappointed in this, as I like many of Bresson's later works, but this just failed to click.