Au Hasard Balthazar

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Au Hasard Balthazar
AuhasardBalthazar1966Poster.jpg
French poster
Directed by Robert Bresson
Produced by Mag Bodard
Written by Robert Bresson
Starring Anne Wiazemsky
François Lafarge
Music by Jean Wiener
Cinematography Ghislain Cloquet
Edited by Raymond Lamy
Distributed by Cinema Ventures
Release dates
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  • 25 May 1966 (1966-05-25)
Running time
95 minutes
Country France
Sweden
Language French
Box office $45,406 (2003 re-release)[1]

Au hasard Balthazar (French pronunciation: ​[o a.zaʁ bal.ta.zaʁ]; meaning "Balthazar, at Random"), also known as Balthazar, is a 1966 French film directed by Robert Bresson. It was succinctly characterized by J. Hoberman in 2003: "Robert Bresson's heart-breaking and magnificent Au Hasard Balthazar (1966) — the story of a donkey's life and death in rural France — is the supreme masterpiece by one of the greatest of 20th-century filmmakers."[2]

Plot

The film follows Marie (Wiazemsky), a shy farm girl, and her beloved donkey Balthazar over many years. As Marie grows up, the pair becomes separated, but the film traces both their fates as they live parallel lives, continually taking abuse of all forms from the people they encounter. The donkey has several owners, most of whom exploit him, often with more cruelty than kindness. He bears his suffering with nobility and wisdom, becoming a saint in the process. Balthazar and Marie often suffer at the hands of the same people. But in the end, Marie's fate remains unresolved, whereas the donkey's is clear.

Cast

Production

After making several prison-themed films using his theory of "pure cinematography", Bresson stated that he wanted to move onto a different style of filmmaking. The story was inspired by Fyodor Dostoyevsky's The Idiot and each episode in Balthazar's life represents one of the seven deadly sins. Bresson later stated that the film was "made up of many lines that intersect one another" and that Balthazar was meant to be a symbol of Christian faith. Bresson produced the film with help from the Swedish Film Institute.[4]

According to Wiazemsky's 2007 novel Jeune Fille, she and Bresson developed a close relationship during the shooting of the film, although it was not consummated. On location they stayed in adjoining rooms and Wiazemsky says "at first, he would content himself by holding my arm, or stroking my cheek. But then came the disagreeable moment when he would try to kiss me ... I would push him away and he wouldn't insist, but he looked so unhappy that I always felt guilty." Later Wiazemsky lost her virginity to a member of the film's crew, which she says gave her the courage to reject Bresson as a lover. Bresson was known to cast nonprofessional actors and use their inexperience to create a specific type of realism in his films. Wiazemsky states: "It was not his intention to teach me how to be an actress. Almost against the grain, I felt the emotion the role provoked in me, and later, in other films, I learned how to use that emotion."[5]

Ghislain Cloquet was the cinematographer for Au Hasard Balthazar; it was the first of three films Cloquet shot for Bresson. Bresson's long collaboration with Léonce-Henri Burel had ended with Bresson's previous film, The Trial of Joan of Arc. As described by Daryl Chin, Bresson and Cloquet "would evolve a cinematic style of subtle, sun-dappled radiance; without extending the photography into extremes of chiaroscuro contrast, Cloquet would heighten the lighting so that even the greys would glisten."[6]

The film's editor was Raymond Lamy, a veteran of French cinema whose first editing credit was in 1931. From 1956 through 1971, Lamy edited all of Bresson's films excepting The Trial of Joan of Arc (1962).[7]

Reception

The film's religious imagery, spiritual allegories and naturalistic, minimalist aesthetic style have been unanimously praised by film reviewers.[8] James Quandt wrote in 2005 that this "brief, elliptical tale about the life and death of a donkey" has "exquisite renderings of pain and abasement" and "compendiums of cruelty" that tell a powerful spiritual message.[9]

The noted filmmaker and Cahiers du Cinema critic Jean-Luc Godard said, "Everyone who sees this film will be absolutely astonished [...] because this film is really the world in an hour and a half."[9] Godard married Anne Wiazemsky, who played Marie in the film, in 1967. Film critic Tom Milne called it "perhaps [Bresson's] greatest film to date, certainly his most complex."[4] One of cinema's "most influential" critics, the late Andrew Sarris,[10] wrote in his 1970 review: “No film I have ever seen has come so close to convulsing my entire being ... It stands by itself as one of the loftiest pinnacles of artistically realized emotional experience.”[11][12]

Awards

The film premiered at the 1966 Venice Film Festival where it won the OCIC (International Catholic Organization for Cinema) Award, the San Giorgio Prize, and the New Cinema Award.[13]

Au Hasard Balthazar was ranked sixteenth on the 2012 critics' poll of "the greatest films of all time" conducted by the film magazine Sight & Sound.[14]

Home media

In 2008 the film was released by Criterion Collections as a region 1 DVD with English subtitles.[15] In 2013 a region 2 DVD was released by Artificial Eye, again with English subtitles.[16]

References

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  7. Raymond Lamy at the Internet Movie Database
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  11. As cited in Lua error in package.lua at line 80: module 'strict' not found. Sarris dated his review as being from 1966; a Village Voice reprint volume indicates a date of 1970.
  12. Sarris' entire February 19, 1970 review is reprinted in Lua error in package.lua at line 80: module 'strict' not found.
  13. Lua error in package.lua at line 80: module 'strict' not found. The San Giorgio Prize was given from 1956 through 1967 for "artistic works that had been considered especially important for the progress of civilization."
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Further reading

External links