Last night I watched Bresson’s* Diary of a Country Priest (Le Journal d’un curé de campagne, 1951) with T. Thanks for my mom brough some of my DVD collections here. This film has been on my shelf for long time but I never had a chance to watch it. I guess I was waiting for a prefect time to appreciate one of my favourite director’s work.
Same as all other Bresson’s works, Diary of a Country Priest was so precisely made. Bresson powerfully used cinematography (remarks: “cinematography” for Bresson has the special meaning of creative film-making which thoroughly exploits the nature of film as such. It should not be confused with the work of a cameraman.) and sound through out the film. I couldn’t stop myself thinking about every single shots of the movie.
Just went back to my little book Notes on the Cinematographerr (by Robert Bresson):
Two types of film: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create.
I always dream that I could make a film that share the same idea of Bresson. But it is so difficult and I realise my mind could never be so clear and detail.
I don’t have more word to talk about this film. Afterall, this isn’t a critical writing and I just like to share that I saw a film that moved my heart.
A quote from the ending of the film (as from the original novel by Georges Bernanos):
He did not seem to hear me. But a few moments later he put his hand on mine and his eyes clearly indicated that I should lean closer. He then said very slowly, but altogether distinctly, the following words, which I record here exactly:
“What does it matter? All is grace.”
He died, I believe, just after.
