Review of Au Hasard Balthazar (1966) by Kalel J — 10 Aug 2008

Bresson's cinematic entry into the immoralities of man succeeds greatly in its qualities of filmmaking, but falls far in its quest for delivering a film of truth and power. Following the life of a mistreated animal, we bare the labours of a donkey through its traversing of the French countryside. But through this harsh treatment, the animalistic nature of the townsfolk is deepened - not only to the laboured steed, but to the intermingling of the people. The film pushes hard to unearth the depths of man and our ability to degrade those around us, but the emotion that the film tries to illicit simply doesn't come through, mainly due to Bresson's over exaggeration of these people (it seems every man and his dog bares no moral fibre) and his constant contradictions in society through his wayward storytelling (longtime care suddenly turning to soured resentment).

At a base level, Au Hasard Balthazar is audacious, strong filmmaking with much to be learnt from. But its persistance becomes overbearing and its bleak qualities turn blank, overturning a film that overstays its course. But with that notion in mind, the films final shot is almost worth baring the drabness of before it.