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BRESSON ON BRESSON

Name: BRESSON ON BRESSON
Author: Robert Bresson
ISBN: 978-1-68137-044-6

INTERVIEWS, 1943-1983

by Robert Bresson translated by Anna Moschovakis edited by Mylène Bresson ‧ RELEASE DATE: Nov. 8, 2016

A terrific encapsulation of the philosophies and techniques behind the cinematic masterpieces of Robert Bresson, from the...

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Reflections of a cinematic grandmaster.

Robert Bresson (1901-1999) was one of the few directors of France’s cinematic old guard to be taken up by the iconoclastic French New Wave filmmakers, as the upstarts admired his exacting and poetic aesthetic and his commitment to the idea of pure cinema. In these short interviews, Bresson, who was given to such gnomic proclamations as, “sound cinema invented silence,” proves to be a deeply analytical thinker who nonetheless puts a premium on intuition and instinct. In landmark films including Pickpocket (1959) and The Trial of Joan of Arc (1962), the director famously eschewed theatrical notions of “acting,” casting nonprofessionals in the interest of capturing authentic behavior. Measured, austere, and elegant in their simplicity, Bresson’s films produce profound emotional effects. The extent to which the filmmaker was conscious of every aspect of his craft in achieving those effects, as well as his enduring, passionate dedication to better understanding and expanding his tools, is on illuminating display in these conversations. Most compelling is an extended exchange with New Wave enfant terrible Jean-Luc Godard, whose interrogation of Bresson reveals a penetrating and nuanced appreciation of the older man’s films and provides a poignant reminder of the heady, collaborative, intellectual community that was the film culture of the mid-1960s. Bresson’s monklike devotion to his idea of “pure” cinema wavers not a bit over the course of the four decades represented here, but it is his optimism and faith in his medium that inspire the greatest admiration. The book ends with this statement from Bresson, made in 1983, with 40 years of revelatory cinema behind him: “The cinema is immense. We haven’t done a thing.” That’s not an admonition; it’s an invitation.

A terrific encapsulation of the philosophies and techniques behind the cinematic masterpieces of Robert Bresson, from the man himself.

Pub Date: Nov. 8, 2016

ISBN: 978-1-68137-044-6

Page Count: 296

Publisher: New York Review Books

Review Posted Online: Nov. 19, 2016

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.