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7,1/10
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LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaCharles drifts through politics, religion and psychoanalysis, rejecting them all. Once he realises the depth of his disgust with the moral and physical decline of the society he lives in, he... Leggi tuttoCharles drifts through politics, religion and psychoanalysis, rejecting them all. Once he realises the depth of his disgust with the moral and physical decline of the society he lives in, he decides that suicide is the only option...Charles drifts through politics, religion and psychoanalysis, rejecting them all. Once he realises the depth of his disgust with the moral and physical decline of the society he lives in, he decides that suicide is the only option...
- Premi
- 3 vittorie e 1 candidatura in totale
Marie Rivière
- Student
- (non citato nei titoli originali)
Recensioni in evidenza
I just saw this film and found it to be one of the best depictions of this century's malaise I've ever seen, viewed through the eyes of the character Charles and his friends.
Charles is a nucleus of concern for his friends Micheal, Alberte, and Edwige. They devote much of their time doting on him and worrying over him, because he cannot find solace in anything...consumerism, environmental destruction, and greed have created a vacuum of disillusionment that these young characters live in, and Charles, above all, sees no way out--he finds this world disgusting, but dying to escape it just as pointless as trying to succeed in it and contribute to it.
Every scene and shot in this film is drained of warmth and vitality. It is as though everyone in the world has succumbed to the acceptance of industrialized mechanization and their own resulting powerlessness. Many shots do not even show the faces of people, just their anonymous bodies walking, their heads cut off. The acting is deliberately minimal and understated. In this drained world, there is never a glimmer of hope depicted for anyone.
But this isn't bad! What makes this film so great, in essence what I think makes much of Bresson's work so powerful, is its simple willingness to show things as they really are. While the others in the film cling to naive hopes for a "revolution," Charles has crossed over to an existential enlightenment of sorts...he fully sees that overthrowing the government or any challenge to authority is useless when it is all of humanity itself that guides and allows for the persistance of a destructive status quo. As he tells the psychologist: "My only problem is that I see too clearly."
And that is a problem, if one doesn't have any means for spiritual sustenance or some way to move on from there...and many people don't. Le Diable probablement makes it clear that for some, there are no institutions, no places in society to ultimately gather strength or support from. Giving up is their only option. As in his film Mouchette, Bresson depicts just this type of person as acheiving almost a state of grace in their refusal to accept what they are expected to accept...and paying the ultimate price for it. While suicide should never be celebrated, the beauty and clarity of the depiction of the mechanisms that lead to the character's suicide in Bresson's films is to be applauded.
****
Charles is a nucleus of concern for his friends Micheal, Alberte, and Edwige. They devote much of their time doting on him and worrying over him, because he cannot find solace in anything...consumerism, environmental destruction, and greed have created a vacuum of disillusionment that these young characters live in, and Charles, above all, sees no way out--he finds this world disgusting, but dying to escape it just as pointless as trying to succeed in it and contribute to it.
Every scene and shot in this film is drained of warmth and vitality. It is as though everyone in the world has succumbed to the acceptance of industrialized mechanization and their own resulting powerlessness. Many shots do not even show the faces of people, just their anonymous bodies walking, their heads cut off. The acting is deliberately minimal and understated. In this drained world, there is never a glimmer of hope depicted for anyone.
But this isn't bad! What makes this film so great, in essence what I think makes much of Bresson's work so powerful, is its simple willingness to show things as they really are. While the others in the film cling to naive hopes for a "revolution," Charles has crossed over to an existential enlightenment of sorts...he fully sees that overthrowing the government or any challenge to authority is useless when it is all of humanity itself that guides and allows for the persistance of a destructive status quo. As he tells the psychologist: "My only problem is that I see too clearly."
And that is a problem, if one doesn't have any means for spiritual sustenance or some way to move on from there...and many people don't. Le Diable probablement makes it clear that for some, there are no institutions, no places in society to ultimately gather strength or support from. Giving up is their only option. As in his film Mouchette, Bresson depicts just this type of person as acheiving almost a state of grace in their refusal to accept what they are expected to accept...and paying the ultimate price for it. While suicide should never be celebrated, the beauty and clarity of the depiction of the mechanisms that lead to the character's suicide in Bresson's films is to be applauded.
****
The main character in this movie, who is 'more intelligent than the other ones' is confronted with political, psychoanalytical and religious gibberish, the misuse of scientific discoveries for the fabrication of deadly weapons (atomic bombs), economic (unrestrained growth, drugs) and environmental (pesticides) catastrophes, ridiculous police interventions and relational difficulties (real love is impossible).
Faced with a devastating human habitat, the 'hero' of the film can only choose the ultimate solution, in the ancient way. This movie (a formidable uppercut) should not only be characterized as a masterpiece, but above all, as a very serious wake-up call for all human beings, and, in the first place, for its fundamentally diabolic masters. For Robert Bresson, man himself is the devil, and not probably. His destructive actions are nothing less than a global planetary suicide. A must see.
Faced with a devastating human habitat, the 'hero' of the film can only choose the ultimate solution, in the ancient way. This movie (a formidable uppercut) should not only be characterized as a masterpiece, but above all, as a very serious wake-up call for all human beings, and, in the first place, for its fundamentally diabolic masters. For Robert Bresson, man himself is the devil, and not probably. His destructive actions are nothing less than a global planetary suicide. A must see.
Robert Bresson's penultimate film, THE DEVIL, PROBABLY definitely is one of his less appreciated work, at the age of 76, his structurally rigid study of a young generation's disillusion and voluntary ostracism towards the society comes off as an aloof, poker-faced but penetrating treatise about ultimate taedium vitae as the zeitgeist of its time, and invites rumination afterwards.
A pre-announced death of a young man Charles (Monnier), leaving a question mark hovering above viewer's head, is it a suicidal case or actually a murder, the picture jumps forwards six months earlier, then steadfastly guides us into Charles' self-rejected life philosophy and the activities happening around him and his friends. Barely any figure of an older generation exists in the story, Charles has a sharp mind (he is good at maths), and alternately stays with two girlfriends: a more sensitive Alberte (Irissari) and a more freewheeling Edwige (Carcano). Meanwhile, a common friend Michel (Maublanc) falls for Alberte and stands by her side each time she feels insecure in Charles' absence.
Charles in not afraid to die, but suicide is something he detests, like politics, religions and the world itself where vice and cruelty are rampant, he refuses to interfere with the world he lives in, and nobody can inveigle him into giving up his belief. As he tauntingly reveals his thought to the psychoanalyst (Hanrion), the pleasure of despair, derived from his no-action, is the sole reason why he lives, once that fades away, there is only one egress for him.
Bresson integrates documentary footages apropos of environmental damage caused by human activities and its repercussion (rickets in Japan after nuclear radiation) into the disjointed narrative, a tough scene, where one can see a seal being battered on its head by a man, and also the montages of trees being felled, monotonously remind us of our sinful acts, 40 years and so on, to this day, the situation only aggravates, that's the main reason why some of us are so pessimistic towards the world.
Employing non-professional young actors and firmly fixating his frame on the lower part of the bodies, the film itself is just like Charles, detached but dogged, and as fearless as him, lectures us about a radical but possibly influential ideology, whether resonance can be induced or not.
A pre-announced death of a young man Charles (Monnier), leaving a question mark hovering above viewer's head, is it a suicidal case or actually a murder, the picture jumps forwards six months earlier, then steadfastly guides us into Charles' self-rejected life philosophy and the activities happening around him and his friends. Barely any figure of an older generation exists in the story, Charles has a sharp mind (he is good at maths), and alternately stays with two girlfriends: a more sensitive Alberte (Irissari) and a more freewheeling Edwige (Carcano). Meanwhile, a common friend Michel (Maublanc) falls for Alberte and stands by her side each time she feels insecure in Charles' absence.
Charles in not afraid to die, but suicide is something he detests, like politics, religions and the world itself where vice and cruelty are rampant, he refuses to interfere with the world he lives in, and nobody can inveigle him into giving up his belief. As he tauntingly reveals his thought to the psychoanalyst (Hanrion), the pleasure of despair, derived from his no-action, is the sole reason why he lives, once that fades away, there is only one egress for him.
Bresson integrates documentary footages apropos of environmental damage caused by human activities and its repercussion (rickets in Japan after nuclear radiation) into the disjointed narrative, a tough scene, where one can see a seal being battered on its head by a man, and also the montages of trees being felled, monotonously remind us of our sinful acts, 40 years and so on, to this day, the situation only aggravates, that's the main reason why some of us are so pessimistic towards the world.
Employing non-professional young actors and firmly fixating his frame on the lower part of the bodies, the film itself is just like Charles, detached but dogged, and as fearless as him, lectures us about a radical but possibly influential ideology, whether resonance can be induced or not.
My Rating : 8/10
With only a 14-film oeuvre, Bresson is undoubtably the most minimalist yet original filmmaker ever to have graced this planet. To me he is the embodiment of purity in all of cinema as his work harrows the soul much deeply than any other filmmaker. Using untrained actors and methodically sculpting their sense of surprise and spontaneity Bresson exploits the interiority of a human being (or animal in the case of 'Au Hasard Balthazar') to be transferred on camera and therefore reveal a flow of visual imagery of 'feeling' which he called 'cinematography' as that is what distinguished cinema from theatre and literature according to him.
Our intellect fools us but our feelings reveal the bitter truths of the world. So when Charles (the young protagonist) says he sees everything 'too clearly' it is because he feels too much and therefore unable to succumb to the industrialised automation around him.
Hopelessness, despair, existentialism - it is all here and it's only purpose is to invite the viewer on a journey of frustration because the frustration is an evolutionary achievement and therefore a necessity (at least according to me...and Bresson).
With only a 14-film oeuvre, Bresson is undoubtably the most minimalist yet original filmmaker ever to have graced this planet. To me he is the embodiment of purity in all of cinema as his work harrows the soul much deeply than any other filmmaker. Using untrained actors and methodically sculpting their sense of surprise and spontaneity Bresson exploits the interiority of a human being (or animal in the case of 'Au Hasard Balthazar') to be transferred on camera and therefore reveal a flow of visual imagery of 'feeling' which he called 'cinematography' as that is what distinguished cinema from theatre and literature according to him.
Our intellect fools us but our feelings reveal the bitter truths of the world. So when Charles (the young protagonist) says he sees everything 'too clearly' it is because he feels too much and therefore unable to succumb to the industrialised automation around him.
Hopelessness, despair, existentialism - it is all here and it's only purpose is to invite the viewer on a journey of frustration because the frustration is an evolutionary achievement and therefore a necessity (at least according to me...and Bresson).
"What prompted me to shoot this film is the waste we have made of everything. It's this mass civilization in which the human being won't exist any more. This mad restlessness. This huge demolition undertaking where we will die where we thought we lived. It's also the astounding indifference from people in general except some young ones who are more lucid".
This is what Robert Bresson declared when his film was released thirty years ago and he surely had good reasons to defend his deeply pessimistic view about the future of the world. It's 1977 and the "thirty-year boom period after World War II" is just over. This golden age of economic, social growth improved many people's lives but also led to grave results like pollution or the nearly extinction of several animal species. Although "le Diable Probablement" was released thirty years ago, the main issues it broaches are still topical ones in 2007 especially with global warming. Could Bresson be a visionary?
Different characters in Bresson's work experienced a cruel, ruthless world, either it is a priest (Journal d'UN Curé De Campagne, 1951), a donkey (Au Hasard Balthazar, 1966) or a little girl (Mouchette, 1967). Here, he puts his camera amid a bunch of teenagers in their twenties something who are horrified with man did to the planet. The strongest points of the work take place during the slide shows when they comment on a neutral voice the damage man caused to the environment. These pictures pack a real wallop and it's impossible not to remain indifferent in front of them. They efficiently serve Bresson's purpose.
But why "le Diable Probabalement" is ultimately underwhelming in Bresson's filmography? These scary pictures are well here to bear witness of the "huge demolition" in which we're trapped but the filmmaker doesn't introduce the causes. They are absent, either they're of social or economical source. That's why we are little convinced and indifferent once these images aren't on the screen any more. And what doesn't help matters is that when the camera lingers on Charles and his friends' everyday life or significant events, these issues of pollution, famine, waste of natural resources seem so far from the filmmaker's main lines that our interest progressively wanes. And the thought that this bunch of teenagers doesn't seem to directly live in this horrible world often springs to mind, except maybe once when Charles and Albert go in a forest and not to see and hear the sound of the trees falling down, the former puts his fingers in his ears.
So, Bresson's film is the victim of a large gap between its purpose and its manner to reach it. It should have gained intensity by being more tightened. Of course, it's a "Bressonian" work to the core with an austere, straightforward directing, "models" who recite their texts and the confrontation of subjective minds with an objective, cruel world but "le Diable Probablement" isn't Bresson's most adequate film to see these features blended to create a big harmonious work. On virtually the same topic, the documentary "an Inconvenient Truth" (2006) is more effectively creepy.
In the sequence when Charles is to the analyst's, at one moment he bends over the shrink's desk and can see a drawer full of checks and notes. This detail could be an indication about the next direction taken by Bresson for his next film: "l'Argent" (1983).
This is what Robert Bresson declared when his film was released thirty years ago and he surely had good reasons to defend his deeply pessimistic view about the future of the world. It's 1977 and the "thirty-year boom period after World War II" is just over. This golden age of economic, social growth improved many people's lives but also led to grave results like pollution or the nearly extinction of several animal species. Although "le Diable Probablement" was released thirty years ago, the main issues it broaches are still topical ones in 2007 especially with global warming. Could Bresson be a visionary?
Different characters in Bresson's work experienced a cruel, ruthless world, either it is a priest (Journal d'UN Curé De Campagne, 1951), a donkey (Au Hasard Balthazar, 1966) or a little girl (Mouchette, 1967). Here, he puts his camera amid a bunch of teenagers in their twenties something who are horrified with man did to the planet. The strongest points of the work take place during the slide shows when they comment on a neutral voice the damage man caused to the environment. These pictures pack a real wallop and it's impossible not to remain indifferent in front of them. They efficiently serve Bresson's purpose.
But why "le Diable Probabalement" is ultimately underwhelming in Bresson's filmography? These scary pictures are well here to bear witness of the "huge demolition" in which we're trapped but the filmmaker doesn't introduce the causes. They are absent, either they're of social or economical source. That's why we are little convinced and indifferent once these images aren't on the screen any more. And what doesn't help matters is that when the camera lingers on Charles and his friends' everyday life or significant events, these issues of pollution, famine, waste of natural resources seem so far from the filmmaker's main lines that our interest progressively wanes. And the thought that this bunch of teenagers doesn't seem to directly live in this horrible world often springs to mind, except maybe once when Charles and Albert go in a forest and not to see and hear the sound of the trees falling down, the former puts his fingers in his ears.
So, Bresson's film is the victim of a large gap between its purpose and its manner to reach it. It should have gained intensity by being more tightened. Of course, it's a "Bressonian" work to the core with an austere, straightforward directing, "models" who recite their texts and the confrontation of subjective minds with an objective, cruel world but "le Diable Probablement" isn't Bresson's most adequate film to see these features blended to create a big harmonious work. On virtually the same topic, the documentary "an Inconvenient Truth" (2006) is more effectively creepy.
In the sequence when Charles is to the analyst's, at one moment he bends over the shrink's desk and can see a drawer full of checks and notes. This detail could be an indication about the next direction taken by Bresson for his next film: "l'Argent" (1983).
Lo sapevi?
- QuizThe critic J. Hoberman described the movie with one sentence: "A Dostoyevskian story of a tormented soul, presented in the stylized manner of a medieval illumination."
- ConnessioniEdited into Histoire(s) du cinéma: Une histoire seule (1989)
- Colonne sonoreEgo Dormio
Music by Claudio Monteverdi (as Monteverdi)
Orchestration by R.P. Émile Martin (as R.P. Martin)
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Dettagli
Botteghino
- Lordo Stati Uniti e Canada
- 26.816 USD
- Fine settimana di apertura Stati Uniti e Canada
- 1688 USD
- 15 gen 2012
- Lordo in tutto il mondo
- 29.158 USD
- Tempo di esecuzione1 ora 35 minuti
- Mix di suoni
- Proporzioni
- 1.37 : 1(original ratio)
- 1.66 : 1
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