Bresson’s A Man Escaped Essay -- Robert Bresson

Evidence of an Auteur: Bresson’s A Man Escaped Robert Bresson’s A Man Escaped follows the confinement and eventual escape of political activist, Lieutenant Fontaine. The movie’s theme is blatantly clear: freedom at all costs. Fontaine must not only save himself from imminent death, but from the fear of parched sanity. Bresson, an â€Å"auteur† by the standards of colleagues and the Cahiers Du Cinema group, creates suspense melded with hope through the scarcity of music and sound, the restricted establishment of setting, the daunting acting of Francois Leterrier, the exposition of time, and the heavy reliance of a narrator. After first viewing of the film, one might be quick to say that the film is completely devoid of music. It is used so scarcely that it appears to make no impact. Yet, it is that scarcity and exclusion that creates the sullen tone of the film. Bresson relies heavily on ambient, diegetic sound that, in this case, is going to be the silence or the rustling of prisoners’ or guards’ feet within the walls of the prison. Careful scraping of the spoon handle on the floor, the creaking of the wooden door as it is pried open, and the light tapping on the cement walls all lend to the solitude and determination of the prisoner. Sound very much plays a role as a symbol; the clinking of the keys against the railing represents not only authority but raises the tension of the film, the viewer knowing that Fontaine’s exposure as an attempted escapee would lead to sudden death. In combination with the random firings from the death squad, Bresson leads the viewer to really f eel the hopelessness and disparity of the situation. Later in the film, during the escape, the train whistle plays parts as both a warning and ... ...war), but in a way that really strove to show the effects of war on one man from his point of view (far more personal and disheartening). Bresson’s other films are made much in the same vein. Though, for example, L’Argent was made in 1983—far from the reaches of the New Wave era—it still has the Bresson-typical ambient sound, tortured main character, and dreariness about it. Jack C. Ellis says that Bresson’s â€Å"search for ever greater clarity and simplicity of visual-aural statement, his concentration on only those themes that most deeply concern him, place him among the very select company with which he is being considered.† So, while some directors may be debated upon continually as an auteur, it is clear from the consensus of historians and critics, as well as his consistent work in his thirteen films, that Robert Bresson has secured his role as an auteur. Bresson’s A Man Escaped Essay -- Robert Bresson Evidence of an Auteur: Bresson’s A Man Escaped Robert Bresson’s A Man Escaped follows the confinement and eventual escape of political activist, Lieutenant Fontaine. The movie’s theme is blatantly clear: freedom at all costs. Fontaine must not only save himself from imminent death, but from the fear of parched sanity. Bresson, an â€Å"auteur† by the standards of colleagues and the Cahiers Du Cinema group, creates suspense melded with hope through the scarcity of music and sound, the restricted establishment of setting, the daunting acting of Francois Leterrier, the exposition of time, and the heavy reliance of a narrator. After first viewing of the film, one might be quick to say that the film is completely devoid of music. It is used so scarcely that it appears to make no impact. Yet, it is that scarcity and exclusion that creates the sullen tone of the film. Bresson relies heavily on ambient, diegetic sound that, in this case, is going to be the silence or the rustling of prisoners’ or guards’ feet within the walls of the prison. Careful scraping of the spoon handle on the floor, the creaking of the wooden door as it is pried open, and the light tapping on the cement walls all lend to the solitude and determination of the prisoner. Sound very much plays a role as a symbol; the clinking of the keys against the railing represents not only authority but raises the tension of the film, the viewer knowing that Fontaine’s exposure as an attempted escapee would lead to sudden death. In combination with the random firings from the death squad, Bresson leads the viewer to really f eel the hopelessness and disparity of the situation. Later in the film, during the escape, the train whistle plays parts as both a warning and ... ...war), but in a way that really strove to show the effects of war on one man from his point of view (far more personal and disheartening). Bresson’s other films are made much in the same vein. Though, for example, L’Argent was made in 1983—far from the reaches of the New Wave era—it still has the Bresson-typical ambient sound, tortured main character, and dreariness about it. Jack C. Ellis says that Bresson’s â€Å"search for ever greater clarity and simplicity of visual-aural statement, his concentration on only those themes that most deeply concern him, place him among the very select company with which he is being considered.† So, while some directors may be debated upon continually as an auteur, it is clear from the consensus of historians and critics, as well as his consistent work in his thirteen films, that Robert Bresson has secured his role as an auteur.