Granted, the story of a donkey Christ figure is laughably pretentious. Except in Bresson's hands, the heavy metaphor isn't the point of the film, but rather its driving force. There's no mystery in the donkey Balthazar's role in the film. Early on he is baptized, called a saint, dons a crown of flowers, an allegorical crown of thorns, and is bound by the coarse bridles of man's burdens, be it the harness at a winery or carting bags of smuggled goods. While many films hide their metaphors under convoluted plots and characterizations, Balthazar wears its symbolism on its sleeve, which is also seen in the film's other characters. There is no time spent wondering about the role or motives of the young girl whose innocence is violently lost but remains in love. She is just that and nothing more; just as her prideful father or the town drunk. The depth of Bresson's film isn't in the archetypal characters, but how they interact with each other and the world. We don't relate to any of the characters' archetypes, especially the donkey, but we can sympathize with what they stand for, as they each represent an extreme of human experience. At some point in time, we have been one of these characters in some regard.
Continue reading: Au Hasard Balthazar Review
Fewer than 1,000 words of dialogue are spoken during the film. That actually sounds like a lot, but the average person speaks at a rate of 280 words per minute (probably more in Italian). That translates to less than four minutes of dialogue during the film's 98-minute running time.
Continue reading: Teorema Review
All too quickly, though, the film goes straight into politics, as Jacques and Suzanne go to interview the manager of a sausage plant and are locked in with him by activists who call a strike. Here the film gets very talky, but also credibly presents the activists' concerns as they wonder what settlement the union will seek with the management. There are some effective sequences in which the strikers complain to Suzanne about working conditions in the plant, and Godard's technical skill (and interesting use of a cutaway set of the factory) makes even this preachy part watchable for a while.
Continue reading: Tout Va Bien Review