Journal d'un curé de campagne

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.

That simple quote from Bresson's film sums up its teaching-and Bresson's achievement..In another review, I referred to this film as one of the handful of "elevens' in the history of film, the two or three dozen that cling to the soul forever.With absolute simplicity and unrivaled economy of means, Bresson has created one of the few 'religious experiences' in the history of cinema.SEE IT.

A young priest has been assigned his first parish in a village somewhere in the North of France. Right from the first, essential opening shot in beautiful black and white, we instinctively get a sense of his isolation from any other human being. As the final credits rolled by, I don't know why I had the impulse to restart the DVD, and I watched the first 5 minutes of the movie again, realising just how much of a harbinger of extreme loneliness the opening frames are. Diary of a Country Priest is in good part about loneliness - the extreme physical, emotional and intellectual isolation of those who embark on an earnest mission, with an inability to compromise and a sincerity (with its resulting emotional vulnerability) which both frightens and repulses those who aren't ready to receive it. I was especially thankful to Bresson for having left us with a film about a priest which didn't involve his tiresome sexual issues in any shape or form - what a refreshing change! In the role of the young parish priest of Ambricourt, young Claude Laydu was in his debut role here - though he very occasionally shows his inexperience as an actor, he is nonetheless remarkable in the title role, and his sensitive, silently suffering, candid boyish face will remain with me for quite a while. It's extraordinary that such a movie, so completely devoid of any mass appeal or commercial potential, should have found someone willing to fund it. This kind of thing restores one's faith in the integrity and vision of certain cinematic enterprises.

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.

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.