Bresson's work is typically one of few words, but The Devil, Probably is quite the opposite. There are now too many images, too many ideas, thrown without order or direction, to the point that he characters can no longer act on their surroundings. While it's not as great as I remembered, it will always have a place in my heart, much like there will always be a hole in my soul.
Took two watches to get. Full of shots that signify meaning, without any; there is no meaning to be signified. Just meaninglessness. A continuity of detached & unrelated moments, interspersed w scenes of self & global destruction. A sombre (because Bresson) nihilistic fervor; Bresson's scathing, accusatory gaze turned to the world of the late 70s. Therapist (deadpan): "Isn't being right compensation for being alive?"
Interesting, if somewhat boring. I think the first half is meant to explore ways for the main character to find a fulfilling way of living; the church and so forth. The second half is about him coping with not finding that way, as when he sleeps in the church and thusly desecrates a holy place for lol:s. It's got a great, gritty 70's look to it. The actors doesn't feel directed as much as placed.
Emotionless characters project themselves into the announcement that life is probably meaningless. Embedded into a mechanical and apathetical net of relationships, everything in the movie happens in some sort of robotic way guided by some hidden force which the narrative clearly states it’s not God or even humanity. How to even bother to kill oneself when there's no point through and through?
Bresson's style is all there and it is clear that he wants to make a direct statement in what turns out to be a very political film, but sadly his usual austerity feels a bit off with the kind of story he wants to tell, and so the result seems more pretentious than it is compelling. http://www.filmotrope.com
Film génial qui est tout entier concentré vers le suicide du héros, Charles comme si le destin était écrit à l'avance et que les personnages le savaient. Style austère mais puissant et assez introspectif sans jamais tomber dans la psychologie. Au long du film, on voit se dessiner un véritable imaginaire filmique avec la récurrence de motifs comme les portes qui semble en souligner la fixation.
_ Charles : Plus rien de politique dans ma vie, si ce n'est le refus de toutes les politiques. Je ne suis pas déprimé. Je veux seulement avoir le droit d'être ce que je suis. Je ne veux pas que l'on me force à ne plus vouloir, à remplacer mes non désirs par de faux désirs, calculés par des statistiques, des sondages, des calculs, des classifications américano-soviétiques super-connes. Je ne veux pas être un esclave.