LES DAMES DU BOIS DE BOULOGNE FILMS. 4 EDITIoN F Les dames du bois de boulogne Bresson's adaptation is in fact back-dated, that it is the aesthetic oralized. a good example of this process is found when Jean enters equivalent of Racine. Bresson has indeed essentialized a picaresque, Agnes's room. He takes in this closed space and then transforms it in ironic drama into a tragic struggle of absolutes. More accurately, he words: This is her lamp, her flowers, her frame, her cushion. This is has pitted the absolute and tragic world view of Helene, the injured, where she sits to read, this, her piano. And yet throughout this icy heroine played elegantly by Maria Casares, against the more recitation we see only his face. The dialogue sums up and closes off modern and temperate world views held by the lover who has left her, sentiments, cooling passions, abstracting emotions. We observe Helene and by the two women she vengefully introduces him to in the bois du lying wrathful on her bed for some time before she leans forward to Boulogne peak her incredibly cold, Je me vengerai Here is the crux of the film's difficulty, for 20th-century spectators Although this style insists on the overpowering strength of Helene are required to identify with the hardened Helene as she spins the web response to life (in which a single errant word warrants death and of her trap, using modern, attractive characters as bait. Yet the film damnation). the plot supports the more ordinary characters whom she succeeds because Bresson has supported her with his style, if not his has manipulated to the end. For after her plans have run their course, moral sympathy. We experience her anguish and determination after she has announced to Jean at the church that he has married within the decisive clarity of each shot and within the fatal mechanism a loose woman, her power is spent. The grace of love, of the love born made up by the precise concatenation of shots. No accident or between these two humble and minor mortals, points to a life or spontaneous gesture is permitted to enter either Helene's world a purpose beyond Helene. Bresson's Jansenism mixes severity(style) Jean Cocteau's dialogue pressed like some dense radioactive Only the dead-time of the Occupation could have permitted such element, continually points up the absolute stakes at play; further a refined and distant love story. Its timeless values, though, reflect on more,the lines he has written play antiphonally with the images to that period, particularly its concern with weakness, forgiveness, and produce a reflective space in which every perception has already been the future in a world controlled by absolute political powers. MoreLES DAMES DU BOIS DE BOULOGNE FILMS, 4th EDITION 288 Les Dames du Bois de Boulogne Bresson’s adaptation is in fact back-dated, that it is the aesthetic equivalent of Racine. Bresson has indeed essentialized a picaresque, ironic drama into a tragic struggle of absolutes. More accurately, he has pitted the absolute and tragic world view of Hélène, the injured, icy heroine played elegantly by Maria Casares, against the more modern and temperate world views held by the lover who has left her, and by the two women she vengefully introduces him to in the Bois du Boulogne. Here is the crux of the film’s difficulty, for 20th-century spectators are required to identify with the hardened Hélène as she spins the web of her trap, using modern, attractive characters as bait. Yet the film succeeds because Bresson has supported her with his style, if not his moral sympathy. We experience her anguish and determination within the decisive clarity of each shot and within the fatal mechanism made up by the precise concatenation of shots. No accident or spontaneous gesture is permitted to enter either Hélène’s world or Bresson’s mise-en-scène. Jean Cocteau’s dialogue, compressed like some dense radioactive element, continually points up the absolute stakes at play; further￾more, the lines he has written play antiphonally with the images to produce a reflective space in which every perception has already been oralized. A good example of this process is found when Jean enters Agnès’s room. He takes in this closed space and then transforms it in words: ‘‘This is her lamp, her flowers, her frame, her cushion. This is where she sits to read, this, her piano.’’ And yet throughout this recitation we see only his face. The dialogue sums up and closes off sentiments, cooling passions, abstracting emotions. We observe Hélène lying wrathful on her bed for some time before she leans forward to speak her incredibly cold, ‘‘Je me vengerai.’’ Although this style insists on the overpowering strength of Hélène’s response to life (in which a single errant word warrants death and damnation), the plot supports the more ordinary characters whom she has manipulated to the end. For after her plans have run their course, after she has announced to Jean at the church that he has married a loose woman, her power is spent. The grace of love, of the love born between these two humble and minor mortals, points to a life or a purpose beyond Hélène. Bresson’s Jansenism mixes severity (style) and the disclosure of grace (plot). Only the dead-time of the Occupation could have permitted such a refined and distant love story. Its timeless values, though, reflect on that period, particularly its concern with weakness, forgiveness, and the future in a world controlled by absolute political powers. More