Synopsis
Robert Bresson's Prize Winning Film
A captured French Resistance fighter during World War II engineers a daunting escape from prison.
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A Man Escaped
Cast
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Producers
Writer
Original Writer
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Cinematography
Production Design
Art Direction
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Spoken Languages
Alternative Titles
A Man Escaped or The Wind Bloweth Where It Listeth, Le vent souffle où il veut, Fugiu Um Condenado à Morte, Um Condenado à Morte Escapou, En dödsdömd har rymt, Un condenado a muerte se ha escapado, 最后逃生, Приговоренный к смерти бежал, 사형수 탈출하다, Απόδρασις Μελλοθανάτων, 사형수 탈옥하다, K smrti odsouzený uprchl, Un condamné à mort s'est échappé ou Le vent souffle où il veut, En dødsdømt er rømt, Un condannato a morte è fuggito, 死囚越狱, Приговоренный к смерти бежал, или Дух веет, где хочет, Bir İdam Mahkumu Kaçtı, Ein zum Tode Verurteilter ist entflohen, הנידון למוות ברח, Ucieczka skazańca, Egy halálraítélt megszökött, Kuolemaantuomittu on karannut, En dødsdømt flygter, 死囚逃生記, 抵抗 - 死刑囚は逃げた, Un condemnat a mort s’escapa
Genres
Themes
Releases by Date
Theatrical
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France
26 Aug 1957
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USANR
07 Nov 1960
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Denmark
25 Feb 1963
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USSR
Physical
28 Apr 2008
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NetherlandsAL
Releases by Country
Denmark
07 Nov 1960
- Theatrical
France
11 Nov 1956
- Theatrical
Netherlands
28 Apr 2008
- PhysicalAL DVD
USA
26 Aug 1957
- TheatricalNR
USSR
25 Feb 1963
- Theatrical
Popular reviews
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A biographical prison escape "thriller" as a formally stripped-down, meticulously-detailed process of human resilience in the face of historical deprivation and isolation. Bresson displays a truly singular and astonishing level of commitment to avoiding all sense of easy, contrived melodrama and instead using every tool at his disposal to achieve a rigorous purity of internal expression as an accumulation of simple, concrete physical action and gesture. The locked-in visual/sonic spatial perspective is particularly masterful; teaching us right from the opening scene to become sensitive to his subjective sight lines, method of thinking, and direct unexaggerated experiences which have been written and directed by men who shared it in real life. There is so much deliberate focus on keeping his eyes…
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The true story of a French resistance fighter who broke out of the notorious Montluc prison in Klaus Barbie's Lyon, where 7,000 men where executed during the German occupation. Bresson does this thing where he never shows any of the prison guards' faces or gives them names or any discernible personality or character. The film remains in tight focus on the main character's face and especially his hands. His captors are abstracted, their cruelty and oppression is never dramatized or given a face or name, we just hear the clink of their keys, the shuffle of their feet, a barked order to stop talking, and the staccato of machine gun fire as they execute another prisoner. The grinding routine and…
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75/100
Process, process, process. Robert Bresson's A Man Escaped focuses more on the different valleys and peaks of reaching an end goal rather than the consequences of such tribulations. It's a film comprised of footsteps, whispers, minor errors, minor victories, and the celebratory rush of triumph over hardship.
While most films "fade to black" to signify an end or a particular moment of importance, the key to A Man Escaped is its usage of the fade as an assured step into danger and the reluctant quest for hope. For Bresson, every movement and action is just the beginning.
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The process of woodblock printing often feels like a process against natural will. To envision an image of what one wants within the wood and carefully, meticulously, plan it out through a number of preparatory steps and procedures, all to suggest to the material what one wants of the material. It never really goes that way of course, but that's part of the process; the wood has its own will, its own ideas, its grain a manifestation of how it wants to be carved and so becomes a constitutional guide. There are ways to diminish this influence of course, but it involves further process; to carefully evaluate where the grain wants to go and to preemptively score around it, human…
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As a realistic, breathtaking, influential and heart-pounding recount of a true POW story, it is a shining triumph. Bresson's style of constantly moving from one relevant event to another and letting images speak while assigning a great importance to silences and facial expressions confirms the truth hidden in the phrase "in simplicity lies complexity". Your complaint is that the title sells away the ending, right? Bresson has never cared about the outcomes; instead, his humanity testaments focus on the struggle of life itself given a set of circumstances. That's why he's misunderstood: not all people have fought for their lives even once.
97/100
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Bresson’s cinema: principles and execution. A series of clear actions perfect rendered. A movie so essential it comes with an ideal second title. Cinema is so unique because it do ideally immerse us on another person being.
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a purpose, a process, a prosecution.
every image is necessary, every sound has meaning, every moment matters.
bresson is a total filmmaker; nothing escapes his artistry.
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A Man Escaped is my first ever Robert Bresson film, and what an incredible way to start. I had no idea how literal the title would be here, as this truly is a story about a man trying to escape from start to finish, a work that thrives because of its minimalism rather than in spite of it.
I have no idea what the typical Bresson style is and whether or not this film represents it, but I really appreciated the fact that throughout the entire work the focus stayed nearly primarily on the lead Fontaine besides a brief conversation or two amongst other inmates, but even then he was the basis of their words. Much of the film not…
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Contained within the tiny cell and the limiting roaming space of its protagonist, A MAN ESCAPED practically begs the usual Bresson label of "ascetic," but how can anything be thought of as stripped-down with sound design this considered, this meticulous? Bresson doesn't expressionistically heighten the sounds, but he doesn't need to: even the dull tap of an iron spoon knocking a loose piece of door back into place or the faint ripple of rifle shots from the firing squad position at the other end of the prison become unbearably tense, pressing down on the prisoner to remind him of how quickly he could be caught and the fate that awaits him regardless. The best answer to those who feel that being spoiled on a film's ending renders it not as exciting.
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