Robert Bresson's great 1956 film, which we recently watched on DVD format, is one of the best prison dramas ever made. Mr. Bresson, who adapted the material from the memories of a Catholic freedom fighter, Andre Devigny, a real prisoner in the Fort Montluc prison of Lyon during WWII. Montluc was the scene of many crimes committed by Klaus Barbie, a man who showed no pity for anyone.
As the film opens, we see Fontaine in the back seat of a car that is taking him to jail. It's clear this young man is trying to escape; we watch as he tries to open the door. When he is able to run, he is followed by the occupants of a second car and he is handcuffed. The next time we see him is in his cell. Fontaine is able to climb onto a shelf so he can see through his window. Three men that are pacing a nearby open space give him rope so they can send him things.
When Fontaine is transferred to a different floor, he begins to think about a plan to escape. He discovers how he can dislodge the boards from the door of his cell. Fontaine begins to be consumed by his desire to leave the horrible place. Fontaine dismantles his bed and gathers all the material he can to create the ropes for his escape. Although communication with the other inmates is almost none, Fontaine develops an easy camaraderie with the other men. There is a priest that is brought as a prisoner, and Orsini, who he feels a bond with. The older man occupying the cell next to him is too afraid to attempt anything.
Fontaine's plans are put to a test when suddenly, a young man is assigned to his cell. By this time Fontaine has been notified he will be executed, so he must make his move. Jost, who is only fifteen years old, agrees to go along. Fontaine's plan is executed up to the most difficult detail. Both men elude being caught as the film closes and we see them walking away free.
Robert Bresson was a director who worked with an economy that translates to whatever one sees on the screen. In Fontaine's face we see the horror of prison life, where a death was a real possibility. Where other directors might feel tempted to create more excitement, Bresson has Fontaine work alone in his cell fueled by his desire to get out. For a film that takes place basically in Fontaine's cell, we are riveted to the screen as we never lose our interest in following the preparations.
Francois Leterrier made a wonderful impression in the film. His eyes, his expressions are what we expect them to be on a man in his circumstance. Leterrier's face registers all that is happening to him with such clarity that we believe he is really that man. Charles Le Clanche, who appears as Jost, does also some remarkable acting. Jacques Ertaud, who plays Orsini, and the rest of the cast made a valuable contribution to the success of the film.
Bresson working closely with his cinematographer Leonce-Henri Burel created a film that represents hope when everything else has failed. It also shows how a human spirit will not be conquered by an enemy that wanted to suppress freedom.
As the film opens, we see Fontaine in the back seat of a car that is taking him to jail. It's clear this young man is trying to escape; we watch as he tries to open the door. When he is able to run, he is followed by the occupants of a second car and he is handcuffed. The next time we see him is in his cell. Fontaine is able to climb onto a shelf so he can see through his window. Three men that are pacing a nearby open space give him rope so they can send him things.
When Fontaine is transferred to a different floor, he begins to think about a plan to escape. He discovers how he can dislodge the boards from the door of his cell. Fontaine begins to be consumed by his desire to leave the horrible place. Fontaine dismantles his bed and gathers all the material he can to create the ropes for his escape. Although communication with the other inmates is almost none, Fontaine develops an easy camaraderie with the other men. There is a priest that is brought as a prisoner, and Orsini, who he feels a bond with. The older man occupying the cell next to him is too afraid to attempt anything.
Fontaine's plans are put to a test when suddenly, a young man is assigned to his cell. By this time Fontaine has been notified he will be executed, so he must make his move. Jost, who is only fifteen years old, agrees to go along. Fontaine's plan is executed up to the most difficult detail. Both men elude being caught as the film closes and we see them walking away free.
Robert Bresson was a director who worked with an economy that translates to whatever one sees on the screen. In Fontaine's face we see the horror of prison life, where a death was a real possibility. Where other directors might feel tempted to create more excitement, Bresson has Fontaine work alone in his cell fueled by his desire to get out. For a film that takes place basically in Fontaine's cell, we are riveted to the screen as we never lose our interest in following the preparations.
Francois Leterrier made a wonderful impression in the film. His eyes, his expressions are what we expect them to be on a man in his circumstance. Leterrier's face registers all that is happening to him with such clarity that we believe he is really that man. Charles Le Clanche, who appears as Jost, does also some remarkable acting. Jacques Ertaud, who plays Orsini, and the rest of the cast made a valuable contribution to the success of the film.
Bresson working closely with his cinematographer Leonce-Henri Burel created a film that represents hope when everything else has failed. It also shows how a human spirit will not be conquered by an enemy that wanted to suppress freedom.