Angels of Sin

From Wikipedia, the free encyclopedia
  (Redirected from Angels of the Streets)
Jump to: navigation, search
Angels of Sin
Les Anges du peche.jpg
Directed by Robert Bresson
Produced by Roger Richebé
Written by Robert Bresson, Raymond Leopold Bruckberger, Jean Giraudoux
Starring Renée Faure
Jany Holt
Music by Jean-Jacques Grünenwald
Cinematography Philippe Agostini
Edited by Yvonne Martin
Distributed by Synops
Release date(s)
  • 23 June 1943 (1943-06-23)
Running time 96 min.
Country France
Language French

Angels of Sin (original French title: Les anges du péché) was the first feature film directed by Robert Bresson. Made in 1943, nine years after his comedy short Affaires publiques, it was Bresson's only film released during the German occupation of France. Working titles included Bethany, and Bresson's favored title The Exchange, but producers felt these titles weren't sensational enough.[1]

This film was made with a cast of professional actors, an aspect it shares with Bresson's next film, Les dames du Bois de Boulogne, which would be his last done that way. Though usually seen as being the most "conventional" of Bresson's features,[2] the religious subject matter and the directness of the film's style is seen as seen by many as auspicious of the director's later work.

Bresson collaborated on the film's screenplay with Raymond Leopold Bruckberger, a Dominican priest, and the noted dramatist Jean Giraudoux, who received top billing on the film's posters above the then-unknown Bresson.

Synopsis[edit]

Anne-Marie (Renée Faure), a well-off young woman, decides to become a nun, joining a convent that rehabilitates female prisoners. Through their program, she meets a woman named Thérèse (Jany Holt) who refuses any help because she says she was innocent of the crime she was convicted for. After being released from prison, Thérèse murders the man she feels is responsible for her imprisonment and comes to seek sanctuary from the law in the convent. Anne-Marie clashes with her sisters and elders over her zealousness to reform Thérèse, who manipulates and antagonizes her.

Bressonian trademarks[edit]

Though fairly conventional for its time in its approach to narrative filmmaking, the film does share some examples of what would later become trademarks of Bresson, including an emphasis on ellipsis: we barely see the shop owner in a sequence where Thérèse buys a gun and we have little context for the relationship of Thérèse and the man she murders, who we only ever see in silhouette, as he's shot. The film also shares a prison setting, which became common throughout Bresson's career (Les anges du péché, A Man Escaped (1956), Pickpocket (1959), The Trial of Joan of Arc (1962), and L'Argent (1983). Lastly, the film ends with a shot of crossed hands being handcuffed: this type of hand close-up became one of Bresson's most noticeable stylistic trademarks, and this particular arrangement of the handcuffed hands is repeated in The Trial of Joan of Arc in 1963.

Though not a Bressonian trademark itself, the film utilizes more fades to black than common compared to other French films of the time, showing an early tampering with film editing.[3]

References[edit]

  1. ^ [The Exchange: Narration and Style in Les Anges du péché by David Bordwell from Robert Bresson 2nd edition: edited by James Quandt]
  2. ^ Films de France: Les Anges du peche
  3. ^ [The Exchange: Narration and Style in Les Anges du péché by David Bordwell from Robert Bresson 2nd edition: edited by James Quandt]

External links[edit]