Firstly, I believe totally in Bresson’s philosophies on filmmaking (or, to use his own term, “cinematography”, whuch is not meant in the same way as what everyone else describes as a “cinematographer”). The idea of removing any sort of theatrically-based emoting from the cast in favor of juxtaposition through various things (location, items in frame, sounds, etc.).
Bresson goes for likely his most extreme example of this philosophy by casting an untrained donkey as the star of his film. But then to make that donkey an allegory for Christ. It’s a bold move which imo pays off.
From the opening title, Bresson makes a brilliant choice to offset the Schubert with the braying of a donkey. To offset what has been used as a shorthand for human divinity. By the creature which Bresson ultimately shows as devine.
To frame the film through near-episodic moments in the life of both Balthazar, and the character of Marie. From youthful innocence and naivity. To having your life be changed and influenced by circumstance and people around you, people you were taught to trust. It’s not the nicest vision of the world but I find it honest.
In Bresson’s own words, “Balthazar submits.” While that statement stands on its own, the true context is in relation to the film “Mouchette” and its protagonist. It may be a bit of a cheat to find the brilliance of Au Hasard Balthazar in comparison to Mouchette (which is also a brilliant film), but I do. The implications of the power of the natural world, the connections to the spiritual world, and humanity’s utter failure to recognize and respect this. It’s a devastating but powerful message. To quote Godard‘s thoughts on this film, ”It’s the world in 90 minutes.”
Lastly, I’ll talk about the technical brilliance of the film. As I mentioned above, the episodic nature works in the film’s favor. Bresson‘s fluidity with how he’d alternate the focus between Balthazar, Marie (and sometimes even Gerard or the drunk), without exposition or a throughline. It’s feels realistic and not beholden to a standard plot/film outline. Bresson’s choice to only use a 50mm lense helps as well. It keeps a unified feel to the film which helps.
