An Analysis of Robert Bresson’s a Man Escaped

Robert Bressons 1956 delineation A Man Escaped, is a film that is based on the true story of Andre Devigny, a member of the french Resistance who managed to break out of prison just hours before he was to be executed. In the opening sequence of the film the security guard is equal to(p) to establish that the main character Fontaine, (Played by Francois Leterrier) has been escorted to prison. Fontaine notices that the men beside him are cuffed, still he is not. He tries to get away when the car stops yet is recaptured and beaten upon the head.From his actions, the viewer is able to recognize Fontaines intelligence and that he is insistent on making an escape. The title of the film is a forewarning to the viewer and that A Man Escaped, and that warning ca habits the viewer to mind if the title alludes to Fontaine, or another prisoner. The drama is built upon that upfront cultivation and it is heightened the further into the length the viewer gets, up until the final escape sequ ence. The delineation for analysis takes place at approximately Twenty minutes into the duration of the film.The picture opens with a spiritualist sally focused on Fontaine amidst his isolation. Fontaine looks up toward the ceiling with a facial expression that reads as saddened or lonesome, which slowly fades out, and fades back in, to a medium long shot of the character crouching in a vulnerable position next to the door. A close shot of Fontaines face really shows his emotion, very saddened and depleted of hope. It appears that Fontaine is analyzing the woodsen door.From his remarks, the viewer can gather that the character has previous knowledge of wood and that take down the door is a possibility in his plan to escape the prison. Bresson is dour on the close-up of the potential escapists hands, feeling the wood, working with tools, and so forth The character receives an iron spoon, an item that will aid him in abject the panels in the door. Followed by another close-up o f the main characters hands, sharpening his new tool, which dissolves into the next medium shot of him standing in his prison cadre.Fontaine is able to pry the panels of wood apart. Fontaine hides his new tool and moves toward the window in his carrel, The camera pans up, following him, and the scene fades out. This is one of the roughly important scenes in the film, and really is the turning stratum for Fontaine because he acknowledges the possibility in getting through his prison cell door and acquires a tool that is capable of helping him dismantle the panels in the door. I think this gives him a small amount of hope and a goal to work towards.Bressons minimalist approach to the cinematography intensifies his use of non- diegetic sound in the film. Bresson uses sound beyond the image, to inform the viewer of actions sack on around Fontaines prison cell. like footsteps outside the cell or noises made by other prisoners. Sound is used to localize emphasis on Fontaines actions , like the chiseling of the panels or the sharpening of the spoon. As with the images, duologue is reduced to the essential. Fontaine does the narration in the film and he only indicates the most important details to the viewer.