Les Dames du Bois de Boulogne [Criterion Collection]

Director: Robert Bresson

Overview

"Though this interesting film was among many responsible for the critical success of French autuer Robert Bresson, it was by no means a commercial success. Slightly different than his other films, director Bresson utilized the contrasty photography of Philippe Agostini (Sylvie et le Fantome, Monde du Silence) and chose professional actors Paul Bernard (Lumiere D'ete), Maria Casares (Enfants du Paradis), and Elina Labourdette (Shanghai Drama) to star rather than non-professionals. With dialogue written by writer/filmmaker Jean Cocteau, Les Dames du Bois du Boulogne was adapted to the screen by Bresson from an interpolated anecdote in Diderot's Jacques Le Fatalist. Casares plays Helene, a passionate but self-controlled woman who is seething after her lover Jean (Bernard) confesses he no longer loves her. Driven by revenge, Helene engineers a plan to attack Jean via Agnes (Labourdette), the woman he truly loves, and Anges' mother (Lucienne Bogaert)."

Product Details

Release Date:	03/21/2010
UPC:	0037429173626
Original Release:	1945
Rating:	NR
Source:	CRITERION
Presentation:	[B&W]
Sound:	[Dolby Digital Mono]
Language:	English
Time:	1:25:00
Sales rank:	5,448

Special Features

New digital transfer, with restored image and sound; Stills gallery featuring rare behind-the-scenes photos; Essays by Fran?ois Truffaut and David Thomson; New and improved English subtitle translation

Cast & Crew

Performance Credits

Paul Bernard	Jean
Mar?a Casares	Helene,Actor
Elina Labourdette	Agnes
Lucienne Bogaert	Agnes's Mother
Jean Marchat	Jacques
Yvette Eti?vant	Chambermaid
Bernard La Jarrige	Actor
Marcel Rouze	Actor
Emma Lyonnel	Actor
Lucy Lancy	Actor
Marguerite de Morlaye	Actor
Nicole Regnault	Actor
Blanchette Brunoy	Actor
Emma Lyonel	Actor
Jean-Jacques Gr?nenwald	Composer
Jean Jacques Grunenwald	Composer

Technical Credits

Denis Diderot

Jean Cocteau

Robert Bresson

Raoul Ploquin	Producer
Denis Diderot	Screenwriter
Jean Cocteau	Screenwriter
Robert Ivonnet	Sound Effects
Lucien Legrand	Sound Effects
Ren? Louge	Sound Effects
Robert Bresson	Screenwriter

Scene Index

Side #1 --
1. Logos/Opening Credits [2:20]
2. The Proof of Love [2:16]
3. "I'm the One Who Has Changed" [6:00]
4. We Are All Angels [11:25]
5. "I'm Taking You Out for a Stroll" [7:56]
6. Follow Your String [3:21]
7. Flowers Ruin Everything [9:45]
8. Dinner at H?l?ne's [7:13]
9. We Are Saved! [4:58]
10. Men Are Vicious [5:04]
11. Read This Letter [6:56]
12. Shall I Tell Him? [6:05]
13. Congratulations [4:53]
14. A Woman's Scorn [2:31]
15. In Time You'll Forgive Me [4:57]
1. Color Bars [:20]

Menu

Side #1 --
Play the Movie
Chapters
Stills Gallery
Subtitles
English Subtitles: On
English Subtitles: Off

Editorial Reviews

One of Robert Bresson's most incandescent works, this early film also marks the teaming of two of France's most personal and idiosyncratic artists: Robert Bresson and Jean Cocteau. Cocteau (whose 1949 film Orpheus mesmerized post-World War II audiences), in addition to his numerous other accomplishments, wrote the dialogue for Les Dames du Bois de Boulogne, loosely based on Denis Diderot's short story Jacques le Fataliste et Son Maître. Elina Labourdette plays Agnès, a young woman who has been forced into a life of prostitution in wartime Vichy, France, in order to support herself and her ailing mother (Lucienne Bogaert). At the same time, Hélène (the serpentine Maria Casarés) is breaking up with her longtime lover, Jean (Paul Bernard), and, feeling jilted by him, concocts an elaborate plot for revenge. Contacting Agnès and her mother, Helene offers to take over their debts, move them out of the brothel they call home, and set them up in a sleek, modern apartment, with no strings attached. We discover too late Hélène's true motives; she is doing all of this so that Jean will "accidentally" meet Agnès, fall in love with her, marry her, and then become the subject of public ridicule because of Agnès' past. All of this goes off with clockwork precision, but Jean, when confronted with the monstrousness of Hélène's treachery, shakes off his bourgeois prudishness, embraces Agnès despite her fall from grace, and the film ends on a note of hope and Bressonian redemption. Cocteau and Bresson were uneasy collaborators; Cocteau's brilliant, incisive dialogue displeased the reticent Bresson, as did the theatricality of the actors. Before long, Bresson would quit working with actors altogether, and create some of his most compelling films using non-professionals, or as he called them, "models," for the leading roles. But in this film the young filmmaker and his scenarist combine to make a telling commentary on the vicissitudes of living in occupied Paris; indeed, Les Dames du Bois de Boulogne is one of the key works of the French Resistance. Working at night on unheated sets (you can see the actors' breath condensing in front of their faces in several scenes), Cocteau and Bresson crafted a brutal parable about the realities of living life under the Nazis in occupied France -- one had the illusion of freedom, but in fact, the leash was very short. Filled with sumptuous sets by Max Douy and a superbly moving score by the great Jean-Jacques Grünenwald, Les Dames du Bois de Boulogne is one of the most subtle masterpieces of classical French cinema.