||Perhaps the most highly regarded French filmmaker after Jean Renoir, Robert Bresson created a new kind of cinema through meticulous refinement of the form's grammatical and expressive possibilities. In thirteen features over a forty-year career, he held to an uncompromising moral vision and aesthetic rigor that remain unmatched. Robert Bresson: A Passion for Film is the first comprehensive study to give equal attention to the films, their literary sources, and psycho-biographical aspects of the work. Concentrating on the films' cinematographic, imagistic, narrative, and thematic structures, Pipolo provides a nuanced analysis of each film--with nearly 100 illustrations--elucidating Bresson's unique style as it evolved from the impassioned Les Anges du peche to such disconsolate meditations on the world as The Devil Probably and L'Argent. Special attention is also given to psychosexual aspects of the films that are usually neglected. Bresson has long needed a thoroughgoing treatment by a critic worthy to the task: he gets it here. From it emerges a provocative portrait of an extraordinary artist whose moral engagement and devotion to the craft of filmmaking are without equal.
||Rarely has a filmmaker benefitted more from repeated viewings than Robert Bresson, whose spiritual films are often purposefully devoid of obvious style or excessive flair, forcing the viewer to glean meaning from the absence of spectacle or performance. Perhaps that is why it has taken so long for anyone to attempt a comprehensive critical analysis of Bresson's 13 films, which include A MAN ESCAPED, PICKPOCKET and AU HASARD BALTHAZAR. Tony Pipolo, a renowned film scholar and psychoanalyst, finally corrects this glaring oversight in film scholarship with this exceptional dissection of Bresson's career, which examines the sources of the films, Bresson's connection to his characters, and the complex psychological signs which Bresson brilliantly hid in plain sight. Pipolo reveals Bresson as a cinematic sculptor, meticulously whittling away the superficial elements of his films until he exposed the moral core.