Review of Au Hasard Balthazar (1966) by Tonypolito — 09 Nov 2010

Many directors and professional critics name this film as among, if not the best, of the 20th Century.

Director Bresson's camera unobtrusively observes the passing of the life of the donkey Balthazar, as well as the life of the woman (Wiazemsky) who simultaneously loves and neglects it.

As people come to know their own pets through observation, so the viewer comes to know the mind and ethic of Balthazar as he parades past human failings such as greed, pride, cruelty and lust. Balthazar suffers much, but lives a life deserving of divine grace. A Criterion restoration.

This observation of a donkey's life is far more fascinating that it sounds. Godard famously stated (seen in the extras) that the film 'gives us the world in 90 minutes.' It does so with sparse dialogue; rather, volumes are spoken through camera's eye. Excellent composition abounds; Bresson's penchant for developing character without the use of facial shots is routinely observed.

There's a harbor of religious references: Balthazar's namesake is one of the Magi, he is baptized (to remove original sin), Wiazemsky crowns him with flowers then abandons him to the abuse of others, nails are driven through his hooves in his shoeing. Hence, interpretations of Balthazar as symbolic saint or Christ-figure.

Bresson's religion (Jansenism) favors the notions of predestination, original sin, and the natural depravity of man. The title, "Balthazar By Chance," underlines that much happens apparently due to chance; the viewer may consider whether chance or predestination works these lives.

And the depravity of man is on full, yet sometimes subtle, display. The final scene, which should not be spoiled, is often noted as among the most memorable in cinema.

RECOMMENDATION: Some viewers will label this film art-house churn, but most, I expect, will be gently captivated. Highest recommendation.