A Man Escaped

A Man Escaped (Un condamné à mort s'est échappé ou Le vent souffle où il veut) (1956)

Runtime: 101 minutes

Directed by: My “favorite” director Robert Bresson

Starring: Francois Leterrier, Charles Le Clainche, Maurice Beerblock, Roland Monod, Jacques Ertaud

From: Gaumont/Nouvelles Editions de Films

I never thought I’d see a Robert Bresson movie, but here you go. If you’re flabbergasted by such a comment, let me explain. Long ago, when I heard that Bresson was the type who “hated actors” and thought it be a great idea to do multiple takes until they act monotone and robotic… that was a gigantic “nope” for me as to be blunt, he sounded like a real horse’s ass and a pretentious clown who is the antithesis of a director whose work I need to watch. Lord knows there are many jackass directors but it’s more about the style of film. In a totally unrelated note, recently I discovered that David O. Russell has a movie coming out later in the year; I’m happy to proclaim that I’m not related to him! Anyhow, there’s also the unforgivable sin of a few modern directors thinking the monotone style of acting is the way to go for their films, so I won’t even give the courtesy of a chance with those people.

For those that I haven’t run off with the controversial comments I just made, the reason to see this film on the Criterion Channel was not just for me to bury a director or reveal more of my cinema tastes. My dismissal of a director loved by cinephiles at least carries a little more weight if I’ve watched one of his works and the plot description did intrigue. A movie entirely focused on a French Resistance member during World War II attempting to escape a Nazi prison captured my attention, along with hearing some of the details. Prison movies aren’t my favorite genre… escaping from one is another story altogether.
From my high rating, it was a movie I don’t regret watching. Mind you,

I don’t know if any of the director’s other films are for me but I can’t deny the filmmaking craft here. It is minimalist & stripped down, focusing on Fontaine as in his position he doesn’t know who to trust and if (when?) his time of execution is coming up. Constant narration explains his thoughts along with the camera showing how he meticulously tries to escape, or how confining the prison is. Sound design is also a key component; Fontaine doesn’t know who is coming when he hears footsteps, and as he tries to escape it is critical for no noise to be heard by the guards, whether it is by being as quiet as possible or an external noise masking any racket being made.

Sure, at times it did feel monotonous but otherwise I can’t really complain. The fact that it’s based on the true story of Andre Devigny and Bresson strived for authenticity to the point that Devigny was on set & some items from his time in prison were used… I can respect that. There are times for a minimalist approach in film and this was a time where it worked. At least there won’t be complete outrage like there’d be if I had knocked Bresson’s most highly-regarded movie-on Letterboxd, anyhow-and hopefully there won’t be when I say that I’d rather watch more from legendary directors whose movies I have rated even higher (Fellini, Bergman, Kurosawa, Truffaut, etc.) or even the rare occasions of giving people a second chance… I really hope that the rest of Antonioni’s filmography isn’t as pointless, stupid, filled w/ A-hole characters (and mimes) & is horrendously smug like Blow-Up.