An Analysis of Robert Bresson’s a Man Escaped

Robert Bressons 1956 film A Man fly, is a film that is ground on the true story of Andre Devigny, a member of the French Resistance who managed to motorcarve up out of prison just hours in front he was to be executed. In the chess opening sequence of the film the watchman is qualified to establish that the main grammatical case Fontaine, (Played by Francois Leterrier) has been escorted to prison. Fontaine notices that the men beside him are cuffed, but he is not. He tries to get away when the car stops but is recaptured and beaten upon the head.From his actions, the viewer is able to recognize Fontaines word of honor and that he is insistent on make an endure. The title of the film is a forewarn to the viewer and that A Man Escaped, and that warning causes the viewer to question if the title alludes to Fontaine, or another prisoner. The drama is build upon that upfront assertation and it is heightened the further into the period the viewer gets, up until the final t rajectory sequence. The context for analysis takes place at approximately Twenty minutes into the while of the film.The scene opens with a medium snap bean focused on Fontaine amidst his isolation. Fontaine looks up toward the cap with a facial expression that reads as saddened or lonesome, which slowly fades out, and fades back in, to a medium long blastoff of the character crouching in a vulnerable slur next to the door. A close shot of Fontaines face really shows his emotion, really saddened and depleted of hope. It appears that Fontaine is analyzing the wooden door.From his remarks, the viewer digest gather that the character has previous intimacy of wood and that dismantling the door is a possibility in his plan to escape the prison. Bresson is persistent on the close-up of the potential idealists hands, feeling the wood, working with tools, etcetera The character receives an iron spoon, an item that bequeath aid him in moving the panels in the door. Followed by anot her close-up of the main characters hands, sharpening his current tool, which dissolves into the next medium shot of him stand up in his prison cell.Fontaine is able to treasure the panels of wood apart. Fontaine hides his new tool and moves toward the window in his cell, The camera pans up, following him, and the scene fades out. This is one of the most important scenes in the film, and really is the turning point for Fontaine because he acknowledges the possibility in getting by dint of his prison cell door and acquires a tool that is capable of helping him analyze the panels in the door. I think this gives him a small amount of hope and a goal to work towards.Bressons minimalist approach to the cinematography intensifies his use of non- diegetic vocalise in the film. Bresson uses sound beyond the image, to inform the viewer of actions going on just about Fontaines prison cell. similar footsteps out of doors the cell or noises made by other prisoners. Sound is used to s tage emphasis on Fontaines actions, like the chiseling of the panels or the sharpening of the spoon. As with the images, dialogue is reduce to the essential. Fontaine does the narration in the film and he only indicates the most important enlarge to the viewer.