O Dinheiro (1983), de Robert Bresson, é um filme que me atormenta há uns dois anos. Prova
disso é que se eu tivesse de listar tudo o que eu vi no mesmo período por ordem
de preferência ele certamente encabeçaria a relação. No ano passado, quando em
viagem pela Europa, comprei no Georges Pompidou em Paris um livro intitulado Robert Bresson: Passion for Films, de
Tony Pipolo - uma análise esmiuçada filme a filme da longa carreira do diretor.
De tempos em tempos consulto-o para aprender mais sobre o grande mestre francês
e aprofundar meu entendimento da sua arte.
O trecho abaixo foi
extraído do capítulo que aborda O
Dinheiro. Optei por preservar a versão original do texto em inglês.
Um breve resumo do
enredo: inspirado num conto do grande escritor russo Liev Tolstói, O Dinheiro é a última obra do mestre
Robert Bresson (1901-1999). No filme um jovem rapaz decide usar uma nota falsa
de 500 francos, dando início a uma sequência de acontecimentos surpreendentes.
Aviso: não se deixe levar pela simplicidade da sinopse, é apenas o ponto de
partida para uma experiência inesquecível.
_________________________________
The Aesthetics of Exchange
Money is the more or less temporary disappearance of difference; it is
the reduction of the random to quantifiable system.
- R.A.Shoaf, Dante, Chaucer, and the Currency of the World: Money,
Images, and Reference in Late Medieval Poetry.
By Tony Pipolo
L' Argent (o nome original do filme em francês) is driven by the idea of a theo-rethoric, a
concept rooted in medieval culture. The stress on the particular nature of
exchange that operates in the film, rooted in false transactions, confirms that
money, the "visible god", as one character calls it, and the
deleterious effects it has on human relations, has assumed the place in Western
culture once occupied by the moral and religious principles grounded in belief
in the invisible God.
This theme might seem obvious, yet Bresson's embodiment of it in
aesthetic terms is not. If money has the power to reduce all relations and
displace all other values, then money underwrites and determines all
relationships between individuals an society. As Shoaf suggests, in the Middle
Ages Christianity and its teachings formed the basis of social structures,
determining how people should look upon each other and treat each other as
equals, at least in the eyes of God. In such a system individual behavior
within a community is directed by a moral-religious standard, whether adhered
to or not, so that to treat someone not in accordance with this rule was to
violate God's and man's law. As such values became increasingly irrelevant and
as the structure of human relations no longer depended on a higher spiritual
standard, the notion of the dignity of the individual, always tenuously
sustained, disappears. In consequence, all exchanges in a godless society are
affected, from the simplest transaction between merchant and buyer to the bonds
between lovers.
It is my contention that the first three-quarters of L'Argent depicts this state of affairs while its
last quarter is an urgent plea against it. Bresson gives us a picture of
contemporary society ruled by money and the devaluation of life and human
exchange that it has brought about. He presents this not only as a theme that
slowly emerges but through the framing and editing of the film, in which all
relations extend and mirror the commercial exchanges as its core, perpetuating
that falseness which such transactions both mask and permit. It is worth noting
that the filmic exchange essential to Bresson's cinema is of course a
determinant element of all cinema, its communal language, so to speak. But
montage, the instrument of this exchange, can be used both poetically and
falselly: as a means of fruitful investigation of internal and external reality
on the one hand, or to sell cheap sentiment and manufactured products on the
other hand. It is precisely this potencial for corruption that Bresson's
insistence on a rigorously moral, accountable cinema aims to correct. Perhaps
then, to the list of the elements of exchange in the Middle Ages subject to
narcissistic or instrumental falsification that Shoaf illuminates - money,
language and faith - we should add the invention of the cinema.
Tenho na minha coleção, mas ainda não o vi. MOUCHETTE é o meu Bresson favorito.
ResponderExcluirO Falcão Maltês
E eu ainda não vi o MOUCHETTE.
ExcluirAcho que é o meu Bresson preferido. É potentíssimo!
ResponderExcluirEmbora ainda me falte alguns Bressons, também considero O DINHEIRO o meu preferido.
Excluir