If you can see past the heavy-handed religious overtones you will encounter an inspired and deeply intelligent Bresson classic.
Au Hasard Balthazar (1966)
Tomatometer
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Reviews Counted:28
Fresh:28
Rotten:0
Average Rating:9.1/10
Runtime: 1 hr 35 mins
Genre: Dramas
Synopsis: Often praised as one of the greatest films ever made, but long unavailable in the United States, AU HASARD BALTHAZAR is suffused with the same religious imagery and themes that mark much of... Often praised as one of the greatest films ever made, but long unavailable in the United States, AU HASARD BALTHAZAR is suffused with the same religious imagery and themes that mark much of director Robert Bresson's films. Like his masterpiece DIARY OF A COUNTRY PRIEST, Bresson's AU HASARD BALTHAZAR combines religious allegory with a naturalistic, austere, and minimalist aesthetic style that matches his ascetic themes. The film tells the story of Marie, an unlucky farm girl, and her beloved donkey Balthazar. As Marie grows up, the pair become separated, but the film traces both their fates as they continue to live a parallel existence. Marie and Balthazar become martyrs, eventually taking the sins of others upon their own heads and finding transcendence in the process. AU HASARD BALTHAZAR is like Bresson's other works in that it seamlessly combines the naturalistic and the spiritual. [More]
Starring: Anne Wiazemsky, Philippe Asselin
Starring: Anne Wiazemsky, Philippe Asselin
Director: Robert Bresson
Director: Robert Bresson
Reviews for Au Hasard Balthazar
The film is perhaps the director's most perfectly realised, and certainly his most moving.
Perhaps the greatest and most revolutionary of Bresson's films, Balthazar is a difficult but transcendently rewarding experience, never to be missed.
likely as lost on today's audience as the saintly donkey that bears man's burdens on his back only to be beaten, neglected and, finally, rejected.
The film does maintain a powerful mood throughout, a kind of stringency, and the fate of the humans fades into insignificance as the film draws to a bleak close.
It's a study of human weakness and cruelty, it's a portrait of Christ the suffering servant, it's the heartbreaking story of a young girl's descent from innocence to despair. But above all, it's a movie about a donkey.
A deft, impassioned, and wrenching film, but also — emphatically, absurdly — a film about a donkey. Indeed, it hardly pretends to be much more.
Each scene emerges as a minor miracle. Which makes the sum total an object of extraordinary glory.
The lens of dispassion Bresson invites us to look through during Balthazar embodies "a prayer which slips into life without interrupting it."
Robert Bresson's aesthetic of realist, material sounds and images assembled in paradoxical ways virtually defines the cinematic parable...
This is what makes Au Hasard Balthazar so powerful, and yet so distant. It asks as much of its audience as it does of its characters...
This is neither an easy film, nor, in the show biz sense, an entertaining one. It makes large demands upon its audience, and in return confers exceptional rewards.
[In Au hasard Balthazar] the suffering is tempered...with the sense of small relief for the quiet little donkey that captured my heart.
The most modern equivalent of [Balthazar's] final scene may be the ending of Lars von Trier's "Breaking the Waves."
Bresson is one of the saints of the cinema, and Au Hasard Balthazar is his most heartbreaking prayer.
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