Henri Cartier-Bresson - Biographie eines Blicks

A presentation of the master photographer's wondrous work, hosted by Cartier-Bresson himself, filmed probably no more than a year or two before his death in 2004, just short of his 96th birthday.

His life was long and rich. Trained as a painter, he became fascinated with and devoted to the camera in his early 20s, though he always tended to dismiss those who applied the term "art" to his pictures, maintaining that they were just gut reactions to moments he happened upon. (His advice to other photographers sounds more like a tip for assassins: "aim well, shoot fast, and scram.") In 1936 he became second assistant in the studio of Jean Renoir, who insisted that he also act in Renoir's films, in order to experience being on the other side of the camera (he played a butler in Renoir's 1939 classic, "Rules of the Game," and also had a bit part in the 1936 film, "A Day in the Country").

He worked for the Underground and hid from the Nazis during the French occupation, an experience that contributed to his "ferocious shyness" - to use one biographer's term - in the years that followed. In 1947 he was a co-founder of the great independent photojournalism cooperative, Magnum, along with Robert Capa. Late in his life, he returned to drawing, and he shows us some marvelous human figures.

This film features unexpected talking heads, Isabelle Huppert and Arthur Miller, along with various photographers, in addition to segments of a long interview in French with M. Cartier-Bresson himself. Rather than subtitles, a voice-over English translation is superimposed on the sounds of Cartier-Bresson's voice, like a UN Conference broadcast. This is at first annoying, but one gets used to it. And there was little choice. Subtitles would have intruded visually on the excellent shots of the photos, which often fill the screen, and that would have been more intrusive yet.

At least 100 photos are displayed, and it is a nice touch that the location and date for each are given briefly, then faded out. Every photo seems a masterpiece of form, and of humanity on the move. Such was Cartier-Bresson's skill in seizing the moment, the split second that is right for the shot, the one almost gets the sense that people are moving in his photos. There is a piano soundtrack. The photographer's head nods to the music, so we know that he is listening along with us, and that too is a splendid nuance. My grade: B+ 8/10.

The film, like Cartier-Bresson's photos, is beautiful

But there is one small error. Towards the end if the film the photo "Behind the. Gare St. Lazare" was taken in 1932. The film has the incorrect year.

But otherwise...look and enjoy.

Henri Cartier Bresson is to photography what Welles is to film. The name mentioned most when debating the best in his field. The length and breadth of his career, the ground he covered, the famous leaders he met, the artists he called friends the historical events he witnessed and the images he captured made for an epic life.

Filmed shortly before his death at 96 Bresson is in fine spirit and energy for someone 94 as he recalls his career holding in his hands many of the masterpieces that he is famous for. He explains a few but mostly allows the images to speak for themselves, adding little more than a smile which seems sufficient to sum up his pleasure at his work. Most of his photography does what it is supposed to do - express itself within its framing (Bresson never cropped). Still, as an ardent admirer I must admit to wishing HCB was of sharper age and memory to discuss in more detail some of the most stunning and dramatic images of the Twentieth Century that he is responsible for. This is balanced however with interviews of other highly regarded photographers such as Elliot Erwitt, Joseph Koudelka and other artists like playwright Arthur Miller and actress Isabel Huppert who show a profound respect for Bresson.

Considering how elusive he was (he avoided being photographed) with the media, I'm glad this testament of the great 20th Century artist is available. My only complaint is that I wish it was recorded at a time when Bresson was a touch more lucid. In turn this would have diluted the most moving moment in the documentary when an unsteady Bresson sits on a Paris rooftop and looks out at the city that he utilized so well as a studio. He says little but you know in whatever vicinity he casts his gaze (Montparnesse, Monmarte, the Seine, Gare St.Lazare) there is more than likely a monochromatic memory that he has already shared with the world. I avoid labeling artists "the greatest" because there are too many issues to argue and too much labor involved in "proving it" but if I were to start with someone HCB would be on that shortlist.