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
Deneuve is Genevieve, who somewhat sullenly assists her widowed mother (Anne Vernon) in running an umbrella shop in Cherbourg, a provincial town of cobblestone streets. Just 17 years old (though Deneuve was 20 when she took the role), she falls impetuously and deeply in love with Guy (Nino Castelnuovo), a charming garage mechanic. His head cocks sweetly when he sings to her, and part of the magic of the film is in watching the two stand thisclose to one another and moon as they sing.
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