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L' Argent [1983] (REGION 1) (NTSC)
 
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L' Argent [1983] (REGION 1) (NTSC)
DVD ~ Christian Patey
5.0 out of 5 stars  (1 customer review)

Availability: Available from these sellers.

4 used & new available from £36.00

Region 1 encoding (requires a North American or multi-region DVD player and NTSC compatible TV. More about DVD formats.)

Note: you may purchase only one copy of this product. New Region 1 DVDs are dispatched from the USA or Canada and you may be required to pay import duties and taxes on them (click here for details). Please expect a delivery time of 5-7 days.


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Product details
  • Actors: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Van den Elsen, Béatrice Tabourin
  • Directors: Robert Bresson
  • Format: Closed-captioned, Colour, DVD-Video, Widescreen, NTSC
  • Language French, Latin
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.77:1
  • Number of discs: 1
  • Classification: NR (Not Rated) (US MPAA rating. See details.)
  • Studio: New Yorker Video
  • DVD Release Date: 24 May 2005
  • Run Time: 81 minutes
  • Average Customer Review: 5.0 out of 5 stars  (1 customer review)
  • DVD Features:
  • ASIN: B000929UQY
  • Amazon.co.uk Sales Rank: 132,196 in DVD (See Bestsellers in DVD)
    (Studios: Improve Your Sales)

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Customer Reviews

1 Review
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6 of 6 people found the following review helpful:
5.0 out of 5 stars Bresson's final masterpiece, spare, elliptical, pessimistic, 29 Sep 2001
By Mr. A. P. Pavelin "alan23923" (Chislehurst, UK) - See all my reviews
(REAL NAME)      
This review is from: L'Argent [1983] (VHS Tape)
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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