forgiving the human race
by Douglas Messerli
Robert Bresson (screenwriter, based on a
novella by Leo Tolstoy; and director) L’Argent
/ 1983, USA limited release 1984
One might almost describe his “hero,”
Yvon Targe (Christian Patey) as a complete innocent who is framed over and over
by those around him; but Yvon, even in his almost passive acceptance of his
fate—Bresson specialized in actors, which he called “models” who read their
lines without emotional intensity, that intensity being left for the cutting
room, not on-screen interpretations of a theatrical “role”—is also guilty
simply because of his acceptance of the capitalist society in which he lives,
and increasingly throughout the film reveals that he is inwardly as violent as
the worst of those around him, which his later murders of other seemingly
innocent folk prove. It is not the money in this film, that is at the root of
all evil, but simply the medium in which several of the films characters use to
reveal their inner demons.
her “allowance” to share. After attempting to pawn his watch, Norbert is asked to pass off, almost as a lark, a forged 500-franc note. He successfully does so in a small photography shop, purchasing a small frame in exchange for the fake money.
When the shop’s owner (Didier Baussy)
discovers the forged note he chides his assistant, who reminds him that he has
accepted two such notes in the past week. Determining to pass them on, he pays
the oil delivery man with the three notes, thus unleashing a series of events
that result in Yvon’s arrest. In court, the shop-owner lies about his
involvement, and is backed up by another employee, a young man named Lucien
(Vincent Risterucci), which results in a judgment of guilt for Yvon and the
loss of his job.
While Yvon is imprisoned, he ultimately discovers, his daughter dies of
diphtheria and his wife leaves him for another man. Who mightn’t be truly
embittered by these experiences? Yvon even fails at suicide.
Once freed from prison, Yvon, rather gratuitously—almost as if playing out
a revenge tragedy—kills a couple of hotel keepers and robs them, seeking
safety, rather vaguely explained, with a kindly old lady (Sylvie Van Den Elsen)
whom Yvon recognizes as a good person.
Her difficult and perhaps abusive
husband chastises her kindness, but she prevails, and provides Yvon with a
place to rest and, so for a few moments it seems, perhaps even redeem his
existence. In a quite intelligent piece published with the Criterion disk of
this film, Adrian Martin proclaims one of the most heart-rending scenes of the
movie is when Yvon helps the old lady with hanging clothes on a line, and later
a “gorgeous, green, plaintively simple image of a man and woman picking
hazelnuts,” again Yvon and the old lady forming an oddly intimate relationship.
Yet, soon after, Yvon picks up an axe, kills the entire family, and
turns himself into the police as a no longer innocent murderer.
One, of course, might read such a film
as being a statement against the society which has criminalized the central
figure’s previously innocent acts, as another example of a culture’s wrongful
sense of justice. But Bresson does no such thing. The policemen and justices
Yvon encounters seem fairly compassionate; unlike the US prison systems, the
jail in which he is incarcerated, seems to offer a rather comfortable
environment and even good meals.
No, Yvon, without even thinking about it, has collaborated in his own
moral deterioration. He has accepted the money without even questioning its
reality; he has reacted with the evil that Bresson suggests exist within all
human hearts. One can feel sorry for Yvon only as a philosopher, recognizing
his dilemmas as being part of the problem of the entire human race. None of us
is innocent; none of us can possibly live without suffering and revealing our
tortured souls.
A few years ago, when I first witnessed this last testament to Bresson’s
genius, I think I might have been unable to say that or, at a deeper level,
admit it. Perhaps, I now discover, I am a Marxist, more cynical of the goodness
of the human race than I ever before perceived myself to be. And, like Bresson,
I still love and forgive those of us who inhabit this planet.
Los Angeles, November 22, 2016
Reprinted from World Cinema Review (November 2016).
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