- Abel Gance | La Roue (The Wheel)
- Jean-Pierre Melville | Léon Morin, Prêtre (Léon Mo...
- Anne Fontaine | Les Innocentes (The Innocents)
- René Clement | Paris brûle-t-il? (Is Paris Burning...
- Volker Schlöndorff | Diplomatie (Diplomacy)
- Michael Cimino | The Deer Hunter
- Jafar Panahi | تاکسی Jafar Panahi's Taxi
- Abbas Kiarostami | طعم گيلاس... (Taste of Cherry...
- Naji Abut Nowar | ذيب (Theeb)
- Hirokazu Kore-eda | 海街diary (Our Little Sister)
- Andrew Nackman | Fourth Man Out
- Peter Greenaway | Eisenstein in Guanajuato
- Linda Bloodworth-Thomason | Bridegroom: A Love Sto...
- Robert Altman | The Company
- Stefan Haupt | Der Kreis (The Circle)
- Bernardo Bertolucci | La commare secca (The Grim R...
- ▼ July (16)
- ► 2015 (127)
- ► 2014 (118)
- ► 2013 (124)
- ► 2012 (147)
- ► 2011 (134)
Sunday, July 24, 2016
Jean-Pierre Melville | Léon Morin, Prêtre (Léon Morin, Priest)
restoral of the ordinary
by Douglas Messerli
Béatrix Beck and Jean-Pierre Melville (screenplay, based on Beck’s novel). Jean-Pierre Melville (director) Léon Morin, Prêtre (Léon Morin, Priest) / 1961
Yet Melville does not dwell on the dangers of occupation. Rather, he subtly reveals them in more subtle ways, such as the moment we witness Barny peering a show window, while behind her the Germans can be seen arresting citizens. The Italians, with their plumed helmets, are merely a small intrusion, but when the Germans come marching in, we sense a change in the entire place.
Against this fragile world, Barny does appear to be a healthy survivor. She is not in the slightest embarrassed to later express the fact that she adores one of her female supervisors, Sabine (Nicole Mirel), and ponders a potentially lesbian relationship that Melville depicts through a scene in which Sabine leans over Barny at her office desk, with her breasts encompassing the other woman’s head. Barny, herself, gushes, “She’s like an Amazon.”
Her daughter’s baptism and the girl’s church studies, however, soon lead her to the town’s cathedral, if no other reason than to confess her hypocrisy. Fearing an older stern priest, she picks out her would-be confessor by his working-class name. What a wonder that she discovers in the confessional not only a handsome man, but a person willing to accept her lack of faith and to begin a conversation with her in his room at nights. The first time they meet, Melville’s camera, reminding one a bit the cinematography of Robert Bresson, literally undresses the young priest by panning down his robe button by button! What follows, over several weeks, are intense meetings, where they do little but discuss the books he offers her to read, but in which the director’s camera, through the flickers of their eyes, the brushing together of their hands, and numerous other gentle insinuations, we observe them struggling to against carnal love.
Morin, for his part, remains ever open and honest, admitting, for example, that “God is an experimental and entirely incommunicable being.” When Barny complains of her reading, he responds: “The workings of God do not make a satisfactory ladder to God.”
Not so very amazingly, perhaps, Barny finally converts, insisting she has become committed to the Church. Even Morin doubts her convictions. Melville was quoted as saying “she converts in order that they can have sex.” Of course, they never do have sex, even though by the time Barny has found religion, several of her woman friends have begun to seek out the priest for personal studies as well.
None of these is of interest to the director or us because, in a sense, in Barny’s conversion, Morin has already consummated their relationship—spiritually at least. And in that consummation the woman has been able to come to terms simultaneously with herself and her god. The War ends, and her child returns from her country stay. As in Fontaine’s film, the ordinary has been restored.
Los Angeles, July 24, 2016