Les dames du Bois de Boulogne

In Les Dames du Bois de Boulogne (or The Ladies of the Bois de Boulogne), we see a society woman Helene played with icy and curiously subtle perfection by María Casares (notice the colorful hats and little white dog and servant) get her form of revenge on an ex-lover (or would-be lover) by having him fall for another woman, a sort of wonderful dancer but more "street" type named Agnes (also very wonderful Elina Labourdette). He doesn't know about her past, since she and her guardian of sorts Mme. D have moved out of their previous dingy place of living, and she can't stand him falling for her since, frankly, she starts to fall in love with him too. What to do? Marriage of course, with some results that on the surface look right out of a TV soap opera.

Which, perhaps, is part of the point. A Hollywood director could make a tawdry melodrama out of the ingredients present here, but the director Robert Bresson is interested in other things, what makes the passions of these characters tic themselves. We see letters written (sometimes with the "help" of another in a conniving way), glances turn into loving stares, significant little things like the lending of an umbrella or the presence of new flowers, the drop of a glass during dinner from minor shock or dismay. At the same time Bresson doesn't let us think these people shouldn't be together, making the eventual dastardly twist make it even harder but even more necessary for Agnes and Jean to be together. Or to try.

Some may be thrown off slightly, as I was, by Bresson's direction here having seen his later, more famous works like his masterpiece A Man Escaped and near-great films (or arguably just the best there is) like Au hasard Balthazar and Pickpocket and how much more restrained and 'stone-cold' emotionally one might say compared to this film. If he hadn't gone his own way with Diary of a Country Priest, Bresson could have gone the way of a more conventional career on the basis of this project, which features some more conventional touches like in the editing, or in allowing for certain moments of incredible and even sensual joy like when Agnes dances. But it's the small touches, and certain traits in the performances that he's able to bring out of his actors, that do mark it as a Robert Bresson picture. And if anything having such a tug-of-war of what is love, what is it to fall for someone dearly in the face of a trick or whatever or cynicism benefits from having somewhat more conventional emotional scenes than the drained sorrow of Balthazar.

Not to mention having Jean Cocteau writing the dialog, which is such an added bonus that it must not be dismissed. Here we see Cocteau's mark by way of the dialog being very rich in getting to the heart of the matter in almost every scene but seamlessly still adhering to Bresson's scenario. One might say it's very "French" in the romantic sense, but why carp? It is a film with three big French names in the writing credits (Diderot, a famous novelist also responsible for The Nun, has a credit as well), and as far as French romance films of the period go it's so deeply affecting that I would say it's mandatory for someone following films of the 1940s from the country. It's about what may or may not be futile in the ways of the heart, or in the worse ways of the heart, and what surpasses society by two people just connecting with each other. A+

This is Robert Bresson's most stylish, and possibly his most romantic movie; it is an elegant and refined drama of jealousy and revenge. It is full of wonderful details, such as the scene of Elina Labourdette's night club act, or the wonderful moment later in the film where she bursts into dance because of her boredom with her confinement. Maria Casares's performance is in the grand tradition: no one can show steely determination and erotic frustration better. This is Bresson's first masterpiece, and was a failure upon release, but has come to be regarded as one of the great films in French film history.

Very good movie by Robert Bresson. After two years with Jean, Hélène tells him that she's not in love with him like at the beginning and that the love that she still have for him is fading away. What a surprise and a sense of betrayal when Jean tells Hélène that he was feeling the same way. So, as a revenge, Hélène manage to get Jean and Agnès together. Agnès is an ex-dancer from the Bois de Boulogne. Without knowing her past, Jean will marry her. Then, when he discovers the secret, he's got a choice, leave or prove his love for Agnès.

Very well done. The cinematography is very good, so is the acting.

Out of 100, I gave it 80.

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.

A society lady (Maria Casarès) engineers a marriage between her lover (Paul Bernard) and a cabaret dancer (Élina Labourdette) who is essentially a prostitute.

Not to say the acting isn't great or the direction isn't wonderful... because they both are. But this really comes down to a great script. This is the sort of bait and switch comedy that the French were great at. Diderot, Voltaire, Beaumarchais... there is a music to their writing that I have never found in any other nation's literature.

This translates fairly well to the screen, and is a great farce about social standing and romance. Now, whether Agnes is a prostitute or not, I don't know. Although she clearly was in the original story, some say she is not in the film. Regardless, the humor of the comedy remains the same.