El diablo probablemente

But Bresson is not so simple-minded as to agree with his hero, even though the choice of honorable suicide is certainly heroic (I recall Sophocles' Ajax, whose motives were very similar). No person past a certain degree of spirtual advancement can take others' ideas and suffering at face value and simply side with them or against them, lay out the arguments or counter them one by one like in a game of cards. It is impossible to "argue" any real case, to lift a word from another reviewer here. One simply knows how things are, and beyond the facts faith, stubborn love of life begin. Bresson is dogmatic as someone who has lived and experienced enough and is not going to bother picking small fights with fools. Yet he is also sympathetic - always. He is kind. He shows everywhere great pity for Charles, all the way to the little glimpse of a TV screen that he catches on the way to his half-hearted appointment with death. This is life with its joys, being left behind. And Bresson lets Charles' better-integrated friend say at one point that he feels that despite everything, it's going to be all right.

Does this convince Charles? Of course not, and he consistently parries every other argument made to him, turns away every saving hand. He is in despair, and life is not a philosophy seminar, it is a choice. If one makes the decision to live, it can't be on rational grounds. As Max Stirner wrote, "I have founded my affair on nothing." Charles has standards. Is it wrong to have standards? What is the point of living without standards, indeed? Being young, he exercises the right every person has but most give up: to insist on satisfaction. He wants the world - or the social world, which is only how deep he penetrates - to exist on his intellectual level, not only on the emotional. Charles knows he could make himself "happy" by losing himself in love (strange again: no reviewer took the trouble to think about the significance of all of the romantic back-and-forth here). And he is not opposed to love. But he wants more. He is untrained but fresh, and he demands that the social world be fresh as well. He wants something worth doing, yet there is nothing. Had he stopped idealizing nature he only knows from a projector's screen or the cabin of a car and seen through to its own brutality, he would object to the physical universe generally, because there is nothing worth doing either. Then Charles' objection would grow to a titanic scale. But he is neither Ajax nor Hamlet, only a sad boy.

And this is itself sad, and that he gets himself killed, indifferently shot by someone who has degenerated below humanity and practically turned into another part of the machine is also sad. Everything is sad, and the future that awaits these boyfriends and girlfriends who did not kill themselves is sad too. What will they become? For they will become something. The devil will cook and flip them and make them into train conductors or mechanics or teachers or celebrated novelists. Within a decade of this time they will grow large and slow, rowdy and loud and insistent and ambitious, they will spawn kids and hang diplomas in the offices and eat at veranda restaurants - painting material for some sort of Renoir. The actors were not professionals, and something like this must have happened them - winds of change blown again by the same maw. And what happened to Antoine Monnier? Where did he go with his beautiful hair and soulful eyes, if not forward into the same lousy future that ends the same way?

And here faith comes again in another wave. Trumping cause-and-effect, the devil's invention. Love of humanity shows throughout this picture, Bresson's love, and it's a damn shame that the guy kills himself. Despite the newspaper headlines in the start, I all along rooted for a happy end.

One wonders what really led the French government to ban "Le Diable, Probablement", a film directed by one of French cinema's most admired directors Robert Bresson. It does not have anything to incite young people to commit suicides and participate in riots. The film makes good use of mixing documentary footage with those of a feature film. This technique results in enabling viewers to know more about various actors and their personal motivations. The neutrality of French youth is revealed through the depiction of a simple youth who express intentions of avoiding society in order not to be misled. The title comes from a sentence uttered by a middle-aged man on in a bus. There are a plenty of Bressonian touches in this film about a young man who is liked by two women. However, this is not the only thing which admirers and fans of Robert Bresson can look out to watch. A serious viewer can also watch how the story of a suicide disguised as a murder was revealed on time.

"For myself, there is something which makes suicide possible - not even possible but absolutely necessary: it is the vision of the void, the feeling of void which is impossible to bear."- Robert Bresson

Robert Bresson's The Devil, Probably, is a powerful cry of despair aimed at a world without values. In this 1977 film Charles, (Antoine Monnier) a young man of about twenty, rebels against society's destruction of the planet and arranges his own death as a protest. What does he want? "I ask nothing", he says, " I lay claim to nothing…If I did anything, then I'd be useful in a world that disgusts me". Bresson describes his work as "a film about the evils of money, a source of great evil in the world whether for unnecessary armaments or the senseless pollution of the environment." The title comes from a scene on a bus when Charles says to his travelling companion that "Governments are shortsighted," and other passengers join in the discussion. One says not to blame governments, "it's the masses who determine events. Someone asks, "So who is it that makes a mockery of humanity? Who's leading us by the nose?" And the first passenger replies with unmistakable irony, "The Devil, probably," and then the bus crashes amidst the cacophony of honking horns.

The film begins and ends in darkness and light is meager throughout. One is not used to color in a Bresson film but here color is almost non-existent and Paris has never looked colder or bleaker. After an illuminated boat pierces the darkness and drifts along the Seine, two newspaper articles are flashed on the screen. Eliminating any suspense, the newspapers announce the death of a young man in Paris, one article says it is a suicide, the other a murder. We then go back six months. The main protagonist, Charles, joins his friends in a meeting about the environment. All of them watch videos of man polluting the environment and scenes of nuclear destruction. They play bongo drums and talk about religion but to no apparent purpose. Each scene is brief and does not last long enough to involve us emotionally.

Charles looks like a typical College student but has the air of insufferable superiority that can only come through righteousness. Physically, he is slender and quite handsome and one does not expect to see an attractive actor as the lead in a Bresson film. He has a nucleus of friends, Michel, Alberte, Eddwige who are concerned about him but he gives little in return, showing no outward emotion and all seem to move about in a catatonic state. Concerned about where Charles seems to be headed, his friends arrange for him to visit a psychiatrist but he tells Dr. Mime (Regis Hanrion) that his problem is only that he "sees things too clearly". He reads from a crumpled brochure in his pocket, telling the doctor what he would lose if he lost his life: family planning, package holidays, cultural, sporting, linguistic, the cultivated man's library, all sports sickness, credit cards, and so forth. The young man says that he is not depressed, that he just wants "the right to be myself. Not to be forced to give up wanting more . . . to replace true desires with false ones based on statistics". In a moment of humor rare for Bresson, the doctor tells Charles that it if he was spanked as a child it is possibly the cause of his feeling crushed by society and asks him, "When it's over, do you see yourself as a martyr?" The reply: "Only an amateur."

On his way to his ultimate protest, the young man hears the sound of a sublime Mozart piano concerto coming from an open window. He stops to listen as if trying to find the source of grace but is denied. When he sees that the music is only coming from a television set, he continues his journey to its inevitable conclusion. The climax, unlike other Bresson films that engender a feeling of spiritual lightness, left me uninvolved, more depressed than moved. When Charles begins to talk about his lack of sublime feelings, he is stopped suddenly in the middle of a sentence, unable to explain to the world why he thinks he has run out of options. In the end he gets to be right…dead right. His death, however voluptuous, does not clean up any toxic waste, save the felling of a single tree, or protect the life of one baby seal.

Robert Bresson's penultimate film, THE DEVIL, PROBABLY definitely is one of his less appreciated work, at the age of 76, his structurally rigid study of a young generation's disillusion and voluntary ostracism towards the society comes off as an aloof, poker-faced but penetrating treatise about ultimate taedium vitae as the zeitgeist of its time, and invites rumination afterwards.

A pre-announced death of a young man Charles (Monnier), leaving a question mark hovering above viewer's head, is it a suicidal case or actually a murder, the picture jumps forwards six months earlier, then steadfastly guides us into Charles' self-rejected life philosophy and the activities happening around him and his friends. Barely any figure of an older generation exists in the story, Charles has a sharp mind (he is good at maths), and alternately stays with two girlfriends: a more sensitive Alberte (Irissari) and a more freewheeling Edwige (Carcano). Meanwhile, a common friend Michel (Maublanc) falls for Alberte and stands by her side each time she feels insecure in Charles' absence.

Charles in not afraid to die, but suicide is something he detests, like politics, religions and the world itself where vice and cruelty are rampant, he refuses to interfere with the world he lives in, and nobody can inveigle him into giving up his belief. As he tauntingly reveals his thought to the psychoanalyst (Hanrion), the pleasure of despair, derived from his no-action, is the sole reason why he lives, once that fades away, there is only one egress for him.

Bresson integrates documentary footages apropos of environmental damage caused by human activities and its repercussion (rickets in Japan after nuclear radiation) into the disjointed narrative, a tough scene, where one can see a seal being battered on its head by a man, and also the montages of trees being felled, monotonously remind us of our sinful acts, 40 years and so on, to this day, the situation only aggravates, that's the main reason why some of us are so pessimistic towards the world.

Employing non-professional young actors and firmly fixating his frame on the lower part of the bodies, the film itself is just like Charles, detached but dogged, and as fearless as him, lectures us about a radical but possibly influential ideology, whether resonance can be induced or not.

I just saw this film and found it to be one of the best depictions of this century's malaise I've ever seen, viewed through the eyes of the character Charles and his friends.

Charles is a nucleus of concern for his friends Micheal, Alberte, and Edwige. They devote much of their time doting on him and worrying over him, because he cannot find solace in anything...consumerism, environmental destruction, and greed have created a vacuum of disillusionment that these young characters live in, and Charles, above all, sees no way out--he finds this world disgusting, but dying to escape it just as pointless as trying to succeed in it and contribute to it.

Every scene and shot in this film is drained of warmth and vitality. It is as though everyone in the world has succumbed to the acceptance of industrialized mechanization and their own resulting powerlessness. Many shots do not even show the faces of people, just their anonymous bodies walking, their heads cut off. The acting is deliberately minimal and understated. In this drained world, there is never a glimmer of hope depicted for anyone.

But this isn't bad! What makes this film so great, in essence what I think makes much of Bresson's work so powerful, is its simple willingness to show things as they really are. While the others in the film cling to naive hopes for a "revolution," Charles has crossed over to an existential enlightenment of sorts...he fully sees that overthrowing the government or any challenge to authority is useless when it is all of humanity itself that guides and allows for the persistance of a destructive status quo. As he tells the psychologist: "My only problem is that I see too clearly."

And that is a problem, if one doesn't have any means for spiritual sustenance or some way to move on from there...and many people don't. Le Diable probablement makes it clear that for some, there are no institutions, no places in society to ultimately gather strength or support from. Giving up is their only option. As in his film Mouchette, Bresson depicts just this type of person as acheiving almost a state of grace in their refusal to accept what they are expected to accept...and paying the ultimate price for it. While suicide should never be celebrated, the beauty and clarity of the depiction of the mechanisms that lead to the character's suicide in Bresson's films is to be applauded.

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