DIARY OF A COUNTRY PRIEST
Directed by: Robert Bresson.
Produced by: Léon Carré & Robert Sussfeld.
Written by: Robert Bresson, based on the novel by Georges Bernanos.
Director of Photography: Léonce-Henri Burel.
Edited by: Paulette Robert.
Music by: Jean-Jacques Grünenwald.
Released by: Criterion.
Country of Origin: France. 115 min. Not Rated.
With: Claude Laydu.
DVD Features: Commentary by: film historian Peter Cowie. New essay by Frédéric Bonnaud. New English Subtitles.

Diary of a Country Priest, with little dialogue and music, explores the downfall of a man ostracized from society. The story line follows an inexperienced priest who, upon his arrival at a rural French parish, faces a spiritual crisis when the town refuses to accept him. The decline of the priest is illustrated through his diary entries and his relationships with the townspeople, yet the characters of the congregation are merely obstacles for the priest's plight and are not really given much attention as individual characters. Given the plot and Bresson's stark yet meaningful camerawork - in which long shots of the priest enhance his feelings of isolation - an allegory of the journey of Jesus himself is hard to miss, and is an interesting concept to keep in mind when viewing. While one can appreciate the film's cinematic quality and beauty, Diary isn't the kind of film to watch for pure entertainment. This is perhaps due to the complexities of adapting an interior plot line to screen (the familiar metaphor of physical ailments for the priest’s spiritual decline is somewhat clichéd). Although thought provoking, this film is not as compelling as, say, Bresson’s L’Argent (1983). Claude Laydu, however, gives a believable performance as an undoubtedly troubled man, and his somber and deliberate movements reflect his internal struggle.

DVD Extras: In his commentary, historian Peter Cowie fills a lot of holes left open for interpretation by Bresson, reading from the original text of Bernanos' novel to clarify a few scenes . He also comments on the religious context of the film, noting that Bresson is not so much a religious activist as he is a gifted director. Many of the poignant and scattered sound effects are explained in metaphorical context, intermingled with biographical information on Bresson. Cowie also discusses such components as set design and construction of the duke's chateau, in addition to how the actors prepared for their roles. Lisette Johnson
March 22, 2004