A truly unique work in cinema. It is simply amazing that a story that is, on the surface, mostly about the life of a donkey can cause you to ponder the mysteries and ironies of life and fate. Bresson created here a model of how to say more with less. The final scene of this film is illustrative of this in its extraordinary ability to deeply move the viewer with only a bare minimum of directorial touch.
The plot lines of Au Hasard Balthazar at times seem forced, sometimes confusing the viewer, and often leaving the characters' motivations unexplained. This matters little, however, because they all follow the same theme that one's actions, explainable or not, are often just a reaction to the environment within which we are placed. The human characters and the donkey are one. Just as Balthazar must succumb to the whims of his owners, so are we humans often just surviving, and submitting to, the actions of those who control us. The film is in many ways a rumination about the free will actually afforded us in life. A key scene is between Marie and the miserly farmer (winemaker?), where the latter expounds upon his philosophy. Money and self-confidence are the keys for him because they allow a certain autonomy that lets him do as he pleases. Money, or the lack thereof, is depicted in several instances as often replacing true morality or spirituality in the characters' lives.
Another scene that mesmerizes (there are several) is when Balthazar is pulling the circus-animal feeding cart through the cage area. The soundless shots of the donkey making eye contact with the other animals is brilliantly done (again with little camera flourish). They seem to be communicating silently with only their gazes, which say "here we are, this is our fate". Extremely affecting, and staggering in its simplicity.
This is a film to be watched again and then again, and then again. In one of the DVD extra features, film scholar Donald Ritchie states that he has seen Balthazar many times, yet he still cries during the ending. I believe this and understand it. Credos to Criterion for resurrecting this classic, and for again doing such a fine production job.
The plot lines of Au Hasard Balthazar at times seem forced, sometimes confusing the viewer, and often leaving the characters' motivations unexplained. This matters little, however, because they all follow the same theme that one's actions, explainable or not, are often just a reaction to the environment within which we are placed. The human characters and the donkey are one. Just as Balthazar must succumb to the whims of his owners, so are we humans often just surviving, and submitting to, the actions of those who control us. The film is in many ways a rumination about the free will actually afforded us in life. A key scene is between Marie and the miserly farmer (winemaker?), where the latter expounds upon his philosophy. Money and self-confidence are the keys for him because they allow a certain autonomy that lets him do as he pleases. Money, or the lack thereof, is depicted in several instances as often replacing true morality or spirituality in the characters' lives.
Another scene that mesmerizes (there are several) is when Balthazar is pulling the circus-animal feeding cart through the cage area. The soundless shots of the donkey making eye contact with the other animals is brilliantly done (again with little camera flourish). They seem to be communicating silently with only their gazes, which say "here we are, this is our fate". Extremely affecting, and staggering in its simplicity.
This is a film to be watched again and then again, and then again. In one of the DVD extra features, film scholar Donald Ritchie states that he has seen Balthazar many times, yet he still cries during the ending. I believe this and understand it. Credos to Criterion for resurrecting this classic, and for again doing such a fine production job.