④
The commentary of "Film History" is an analogy, saying that Bergman's movie is a "theatre", Fellini's movie is a "circus", and Bresson's is a "prison."
Paul Scheder said, "Bresson's film is "a gradual progress of the soul from restriction to freedom."
Fontaine finally removed the door of the cell. He walked quietly on the promenade of the prison, looming in the midnight shadow. At that moment, I suddenly felt that Robert Bresson might be the filmmaker Dostoevs. base.
⑤
Bresson is the ultimate form of a minimalist, and I have reason to doubt that if he is willing, he can shoot 90% of the movies from the past and present in less than 30 minutes.
His films have always been concise and clear, and all the "moisture" has been squeezed out. As long as they are shots, sounds, characters, and plots that he considers meaningless, they will never be presented.
If "The Great Phantom" shows a rich and full human nature through ambiguous moral standpoints, then all the ambiguous and difficult points in "Death Prison Escape" have been cancelled, even morality is no longer important, and all things are abstracted out into one. A conceptual existence, an existence that only serves the theme of "prison break". In Bresson's view, the beauty and ugliness related to moral inclination does not matter at all. He has always cared more about the beauty of "clearness".
The protagonist, Fang Dan, was sent to torture and tortured. In everything in the camera, he was thrown on the floor of the cell with a broken head. Bresson thought that even if you filmed how he was tortured completely, the audience would still realize this clearly. It was just a performance. He himself was captured by the Germans during World War II. What he experienced firsthand was, "I heard someone being whipped through the door and then heard the sound of someone falling to the ground." In his opinion, this is more than you witnessed the atrocities. Ten times more cruel, after all, the most terrifying things have always come from imagination.
⑥
Even the "parallel sound and picture" has been dismissed as complicated by him. He has always insisted, "If the role of sound can replace the picture at a certain moment, then cut the picture or try to make the audience ignore it. The vision can only stay outside. On the contrary, hearing can penetrate deep into the environment. If the sound and the picture must be complementary to each other, then the master-slave position must be established. Evenly matched will only cancel out two pairs, but in the end it will have no effect."
"Death Prison Escape" is an unprecedented pioneering exploration of the use of sound elements in the film creation process. He uses sound to create depth of field and open up space outside the picture. When the jailer closed the door and left, the expressiveness of the picture was blocked. At this time, the sound of the baton hitting the railing sounded and then faded away with the sound of footsteps. The intimidation of the jailer and the prisoner's yearning for freedom were established in this voice. Reverberating superimposed in the space.
What is the yearning for freedom? Bresson said that you were sitting in the cell and hearing the sound of the outside world.
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