Most Helpful Customer Reviews
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10 of 11 people found the following review helpful:
5.0 out of 5 stars
Bresson's final masterpiece, spare, elliptical, pessimistic, 29 Sep 2001
Bresson's films, never upbeat at the best of times, became increasingly pessimistic, and this final film shows his view of the corrupting effect of money. Based on a Tolstoy story updated to 1980s Paris, it shows how the passing of a forged note turns an apparently honest young man into a mass murderer; this may sound melodramatic, but seeing the film it becomes wholly believable. Bresson's spare and elliptical film-making technique is as fresh as ever; no shot is unnecessary or wasted, and you have to work hard to fill in the gaps, as it were (a variant, perhaps, on Godard's jump-cuts). The effect on the attentive viewer is sheer exhileration. As usual, Bresson eschews psychological motivation; for example, one character who is shown as a downright crook is suddenly revealed to have given away much of his money to charity. Nobody is totally bad in Bresson's universe; this can be interpreted in a Christian way by saying that God's grace breaks through to even the most hardened sinner. You don't actually see any of the violence; it's all implied (or happens off-screen). A brilliant film, and a fitting conclusion to a brilliant film-making career.
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3 of 3 people found the following review helpful:
4.0 out of 5 stars
Wooden acting for emotional effect, 14 Jul 2008
It is indeed rare that such wooden acting can be excusable. In the case of L'Argent it is, because somehow, and don't ask me how, the film gets by without emotional performances. Indeed, it would be an entirely different film if the actors were any good. As it is they go through the motions in such an expressionless way, that I am convinced Bresson wanted it that way. Bad actors usually over act not under act. These are simply pawns in a game, moved from scene to scene by the director's invisible hand. It is a touch of genius if you ask me, because as the audience I found myself having to emote for the actors, to take their place so to speak. In Bresson's inimitable style, where each shot seems to take on a moral weight which is passed on to the next shot and the next and the next, and where it is clear he is not aiming for realism but more for a kind of sparse imitation of what is going on (see the scene in the cafe where Yvon pushes the waiter), the wooden acting works.
I don't discount the possibility that Bresson simply couldn't get good acting performances out of his cast this time around. But even if that is the case, the film works. And how! It created in me a sensation I compare to that of being in the presence of a frigid and ungiving lover who is so beautiful, her presence alone is enough to sustain the relationship.
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13 of 19 people found the following review helpful:
2.0 out of 5 stars
Review the film not the reviews, 24 Aug 2007
Too many reviewers here abuse the reviews pages to attack other reviewers who do not share their opinions as if there was only right or wrong when it comes to art. They should talk about the film not each other. Yes I am guilty too but I see so much of this I had to comment.
The film itself is quite poor to my eyes. Bad acting and a bad ending are the main reasons. The short story is much better and I would recommend buying that instead. If you must see this film, rent it rather than buy unless you are a die hard fan of the director.
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