ksie_15241
A rejoint le oct. 2004
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Note de ksie_15241
A truly unique work in cinema. It is simply amazing that a story that is, on the surface, mostly about the life of a donkey can cause you to ponder the mysteries and ironies of life and fate. Bresson created here a model of how to say more with less. The final scene of this film is illustrative of this in its extraordinary ability to deeply move the viewer with only a bare minimum of directorial touch.
The plot lines of Au Hasard Balthazar at times seem forced, sometimes confusing the viewer, and often leaving the characters' motivations unexplained. This matters little, however, because they all follow the same theme that one's actions, explainable or not, are often just a reaction to the environment within which we are placed. The human characters and the donkey are one. Just as Balthazar must succumb to the whims of his owners, so are we humans often just surviving, and submitting to, the actions of those who control us. The film is in many ways a rumination about the free will actually afforded us in life. A key scene is between Marie and the miserly farmer (winemaker?), where the latter expounds upon his philosophy. Money and self-confidence are the keys for him because they allow a certain autonomy that lets him do as he pleases. Money, or the lack thereof, is depicted in several instances as often replacing true morality or spirituality in the characters' lives.
Another scene that mesmerizes (there are several) is when Balthazar is pulling the circus-animal feeding cart through the cage area. The soundless shots of the donkey making eye contact with the other animals is brilliantly done (again with little camera flourish). They seem to be communicating silently with only their gazes, which say "here we are, this is our fate". Extremely affecting, and staggering in its simplicity.
This is a film to be watched again and then again, and then again. In one of the DVD extra features, film scholar Donald Ritchie states that he has seen Balthazar many times, yet he still cries during the ending. I believe this and understand it. Credos to Criterion for resurrecting this classic, and for again doing such a fine production job.
The plot lines of Au Hasard Balthazar at times seem forced, sometimes confusing the viewer, and often leaving the characters' motivations unexplained. This matters little, however, because they all follow the same theme that one's actions, explainable or not, are often just a reaction to the environment within which we are placed. The human characters and the donkey are one. Just as Balthazar must succumb to the whims of his owners, so are we humans often just surviving, and submitting to, the actions of those who control us. The film is in many ways a rumination about the free will actually afforded us in life. A key scene is between Marie and the miserly farmer (winemaker?), where the latter expounds upon his philosophy. Money and self-confidence are the keys for him because they allow a certain autonomy that lets him do as he pleases. Money, or the lack thereof, is depicted in several instances as often replacing true morality or spirituality in the characters' lives.
Another scene that mesmerizes (there are several) is when Balthazar is pulling the circus-animal feeding cart through the cage area. The soundless shots of the donkey making eye contact with the other animals is brilliantly done (again with little camera flourish). They seem to be communicating silently with only their gazes, which say "here we are, this is our fate". Extremely affecting, and staggering in its simplicity.
This is a film to be watched again and then again, and then again. In one of the DVD extra features, film scholar Donald Ritchie states that he has seen Balthazar many times, yet he still cries during the ending. I believe this and understand it. Credos to Criterion for resurrecting this classic, and for again doing such a fine production job.
This film is interesting only to anyone familiar with the saga of Edie Sedgwick. And it seems a bit ghoulish/voyeuristic to admit watching it for that reason. Although it's often claimed to be a biography of Edie, the film really is just a painful look at a person in the final stages of mental illness-drug addiction. She died soon after filming completed, which is no surprise.
The plot of Ciao is pretty garbled by the storyline involving the character Mr. Vedecchio. The director's commentary explains that Vedecchio was only added to the movie because during shooting the rest of the cast disappeared and there was nothing else to do but beef-up this role. In fact, the whole movie is a cut-and-paste of pre-meltdown Edie (black and white footage) and post-meltdown Edie (color), with Vedecchio and Paul America tossed into the mix. The color section also introduces Butch, the drifter from Texas, who does provide some much-needed comedy.
Although Ciao, Manhattan might not be particularly entertaining on its own, the DVD extras in the Anniversary package are wonderful, and to me made the disc worth purchasing. The directors' (and Butch/Wesley's!) commentary provides the story of how this movie "directed itself", and informs much about Edie and her state of mind during the last days of her life. There is quite a bit of extra footage from the Warhol-NYC days, and some terrific stills of Edie. A nice booklet is also included.
The plot of Ciao is pretty garbled by the storyline involving the character Mr. Vedecchio. The director's commentary explains that Vedecchio was only added to the movie because during shooting the rest of the cast disappeared and there was nothing else to do but beef-up this role. In fact, the whole movie is a cut-and-paste of pre-meltdown Edie (black and white footage) and post-meltdown Edie (color), with Vedecchio and Paul America tossed into the mix. The color section also introduces Butch, the drifter from Texas, who does provide some much-needed comedy.
Although Ciao, Manhattan might not be particularly entertaining on its own, the DVD extras in the Anniversary package are wonderful, and to me made the disc worth purchasing. The directors' (and Butch/Wesley's!) commentary provides the story of how this movie "directed itself", and informs much about Edie and her state of mind during the last days of her life. There is quite a bit of extra footage from the Warhol-NYC days, and some terrific stills of Edie. A nice booklet is also included.
