FILMS. 4th EDItION LES DAMES DU BOIS DE BOULOGNE assume more formalized and realist, down-to-earth properties(as Sloan, Jane, Robert Bresson: A Film Guide, New York, 1983 may be seen in The Story of Qiu Ju and his latest, To Live) Hanlon, Lindley, Fragments: Bresson's Film Style, Cranbury, 1986 Quandt, James, editor, Robert Bresson, Toronto, 1998 Stephen Teo Reader, Keith, Robert Bresson, Manchester, 2000 Articles. LES DAMES DU BOIS DE Sadoul in Lettres Francaises(Paris), 29 September 194 BOULOGNE Becker, Hommage a robert Bresson, in Ecran francais aris), 17 October 1946. Lambert, Gavin, * Notes on Robert Bresson, in Sight and Sound (Ladies of the Bois de boulogne) (London), Summer 1953. Truffaut, Francois, in Arts(Paris), 22 September 1954. france. 1945 (London), December 1957. Director: robert bresson Baxter, Brian, Robert Bresson, in Film(London), September October 1958 Production: Films Raoul Ploquin; black and white, 35mm; running Roud, Richard, "The Early Work of Robert Bresson, "in Film ime: originally 96 minutes, but edited down to 84 minutes for initial Culture(New York ), no 20, 1959. release, current versions are usually 90 minutes. Released 21 Septem- Roud. Richard, French Outsider with an Insider Look, 'in Filr ber 1945. Filmed summer 1944 in france and Filming(London), April 1960. lew York Times, 4 April 1964 Producer: Robert Lavellee: screenplay: Robert Bresson; dialogue Sarris. Andrew. *Robert Bresson 'in Interviews with Film Direc- Jean Cocteau, from a passage in"Jacques le fataliste et son maitre tors. New York. 1967 by Denis Diderot; photography: Philippe Agostini; editor: Jean Sontag, Susan, ""Spiritual Style in the Films of Robert bresson, i Feyte; sound: Rene Louge, Robert Ivonnet, and Lucien Legrand Against Interpretation, New York, 1969 production designer: Max Douy; music: Jean-Jacques Grunenwald. Skoller, Donald S, ""Praxis as a Cinematic Principle in the Films of Robert bresson, in Cinema Journal (Evanston, Illinois). Fall 1969 Cast: Paul Bernard (ean): Maria Casares(Helene ) Elina Labourdette Robert bresson, in Current Biography Yearbook, New York, 1971 (Agnes ]); Lucienne Bogaert(Madame D): Jean Marchat (Jacques) Samuels, Charles Thomas, Robert Bresson, in Encountering Direc- Yvette Etievant(Chamber maid); with Bernard Lajarrige, Nicole ors. New York. 1972. Regnault, Marcel Rouze, Emma Lyonnel, Lucy Lancy, Marguerite de Polhemusin, H. M, ""Matter and Spirit in the Films of Robert Morlaye, and the dog Katsou Bresson, in Film Heritage(Dayton, Ohio), Spring 1974 Les dames du bois de boulogne issue of Avant-Scene du cinema Awards: Louis Delluc Award. france. 19 Paris), 15 November 1977 'Robert Bresson Issue"of Camera/Stylo( Paris), January 1985 Signorelli, A, "Les dames du bois de boulogne di robert bresson Cineforum, vol. 27, no 9, 1987. Publications Predal, R, in Avant Scene du Cinema(Paris), January-February 1992 Michalczyk, J.J., and Paul Guth, in French review, no. 4, 1992. Botermans, Jan, in Film en Televisie Video(Brussels), Octo Bresson, Robert, and Jean Cocteau, Les Dames du bois de boulogne. Books. Les dames du bois du boulogne, robert Bresson's second film premiered just at the moment of the Liberation of France. Considered he Films of robert Bresson, New York, 1969 difficult and client of Armes, Roy, French Cinema Since 1946. Volume 1: The Great Louis Delluc Award for the years most important French film. what Tradition, New York, 1970. was it that made this film so difficult. and how could Bresson's severe Cameron, lan, The Films of Robert Bresson, London, 1970 style have attracted the attention it did? Schrader, Paul, Transcendental Style on Film: Ozu, Bresson, Dreyer First of all, the stifling studio look, by which Bresson was able to Los Angeles. 1972 shadow, was perfectly suited to the hermetic era of the resson, Robert, Notes sur le cinematographe, Paris, 1975; as Notes Occupation in which the f on the Cinema. New york. 1977. of the films literary source. The story was culled from Diderot's de Pontes Leca, C, Robert Bresson o cinematografo e o sinal, 18th-century classic Jacques le fataliste. Seemingly updated to in- Lisbon. 1978. clude automobiles, electric lights, etc, Bazin once claimed that 287FILMS, 4 LES DAMES DU BOIS DE BOULOGNE th EDITION 287 assume more formalized and realist, down-to-earth properties (as may be seen in The Story of Qiu Ju and his latest, To Live). —Stephen Teo LES DAMES DU BOIS DE BOULOGNE (Ladies of the Bois de Boulogne) France, 1945 Director: Robert Bresson Production: Films Raoul Ploquin; black and white, 35mm; running time: originally 96 minutes, but edited down to 84 minutes for initial release, current versions are usually 90 minutes. Released 21 Septem￾ber 1945. Filmed summer 1944 in France. Producer: Robert Lavellée; screenplay: Robert Bresson; dialogue: Jean Cocteau, from a passage in ‘‘Jacques le fataliste et son maître’’ by Denis Diderot; photography: Philippe Agostini; editor: Jean Feyte; sound: René Louge, Robert Ivonnet, and Lucien Legrand; production designer: Max Douy; music: Jean-Jacques Grunenwald. Cast: Paul Bernard (Jean); Maria Casares (Hélène); Elina Labourdette (Agnès J); Lucienne Bogaert (Madame D); Jean Marchat (Jacques); Yvette Etievant (Chamber maid); with Bernard Lajarrige, Nicole Regnault, Marcel Rouzé, Emma Lyonnel, Lucy Lancy, Marguerite de Morlaye, and the dog Katsou. Awards: Louis Delluc Award, France, 1945. Publications Script: Bresson, Robert, and Jean Cocteau, Les Dames du Bois de Boulogne, in Avant-Scène du Cinéma (Paris), 15 November 1977. Books: The Films of Robert Bresson, New York, 1969. Armes, Roy, French Cinema Since 1946, Volume 1: The Great Tradition, New York, 1970. Cameron, Ian, The Films of Robert Bresson, London, 1970. Schrader, Paul, Transcendental Style on Film: Ozu, Bresson, Dreyer, Los Angeles, 1972. Bresson, Robert, Notes sur le cinématographe, Paris, 1975; as Notes on the Cinema, New York, 1977. de Pontes Leca, C., Robert Bresson o cinematografo e o sinal, Lisbon, 1978. Sloan, Jane, Robert Bresson: A Film Guide, New York, 1983. Hanlon, Lindley, Fragments: Bresson’s Film Style, Cranbury, 1986. Quandt, James, editor, Robert Bresson, Toronto, 1998. Reader, Keith, Robert Bresson, Manchester, 2000. Articles: Sadoul, Georges, in Lettres Françaises (Paris), 29 September 1945. Becker, Jacques, ‘‘Hommage à Robert Bresson,’’ in Ecran Français (Paris), 17 October 1946. Lambert, Gavin, ‘‘Notes on Robert Bresson,’’ in Sight and Sound (London), Summer 1953. Truffaut, François, in Arts (Paris), 22 September 1954. Gow, Gordon, ‘‘The Quest for Realism,’’ in Films and Filming (London), December 1957. Baxter, Brian, ‘‘Robert Bresson,’’ in Film (London), September￾October 1958. Roud, Richard, ‘‘The Early Work of Robert Bresson,’’ in Film Culture (New York), no. 20, 1959. Roud, Richard, ‘‘French Outsider with an Insider Look,’’ in Films and Filming (London), April 1960. New York Times, 4 April 1964. Sarris, Andrew, ‘‘Robert Bresson,’’ in Interviews with Film Direc￾tors, New York, 1967. Sontag, Susan, ‘‘Spiritual Style in the Films of Robert Bresson,’’ in Against Interpretation, New York, 1969. Skoller, Donald S., ‘‘Praxis as a Cinematic Principle in the Films of Robert Bresson,’’ in Cinema Journal (Evanston, Illinois), Fall 1969. ‘‘Robert Bresson,’’ in Current Biography Yearbook, New York, 1971. Samuels, Charles Thomas, ‘‘Robert Bresson,’’ in Encountering Direc￾tors, New York, 1972. Polhemusin, H. M., ‘‘Matter and Spirit in the Films of Robert Bresson,’’ in Film Heritage (Dayton, Ohio), Spring 1974. ‘‘Les Dames du Bois de Boulogne Issue’’ of Avant-Scène du Cinéma (Paris), 15 November 1977. ‘‘Robert Bresson Issue’’ of Caméra/Stylo (Paris), January 1985. Signorelli, A., ‘‘Les dames du Bois de Boulogne di Robert Bresson,’’ in Cineforum, vol. 27, no. 9, 1987. Predal, R., in Avant Scène du Cinéma (Paris), January-February 1992. Michalczyk, J.J., and Paul Guth, in French Review, no. 4, 1992. Botermans, Jan, in Film en Televisie + Video (Brussels), Octo￾ber 1996. *** Les Dames du Bois du Boulogne, Robert Bresson’s second film, premiered just at the moment of the Liberation of France. Considered a difficult and extraordinary work, it was the first recipient of the Louis Delluc Award for the year’s most important French film. What was it that made this film so difficult, and how could Bresson’s severe style have attracted the attention it did? First of all, the stifling studio look, by which Bresson was able to control every shadow, was perfectly suited to the hermetic era of the Occupation in which the film was made and to the strict moral drama of the film’s literary source. The story was culled from Diderot’s 18th-century classic Jacques le fataliste. Seemingly updated to in￾clude automobiles, electric lights, etc., Bazin once claimed that