A young girl living in the French countryside suffers constant indignities at the hand of alcoholism and her fellow man.A young girl living in the French countryside suffers constant indignities at the hand of alcoholism and her fellow man.A young girl living in the French countryside suffers constant indignities at the hand of alcoholism and her fellow man.
- Awards
- 5 wins & 1 nomination
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaIt was rumored for years that the trailer for this film was by Jean-Luc Godard, and he has recently confirmed this by programming it in a self-curated retrospective of his work. The trailer is virtually a miniature essay on (or subversion of) the film, jarringly inter-cutting excerpts from it with a written commentary that calls it "Christian and sadistic."
- Goofs(at around 1 min) The canteen changes position after being dropped.
- ConnectionsEdited into Bande-annonce de 'Mouchette' (1967)
- SoundtracksMagnificat
Written by Claudio Monteverdi
Performed by Les Chanteurs de St. Eustache
Conducted by R.P. Émile Martin
Featured review
"compassionate", "unflinching", or just a snare?
It seems entirely appropriate that the film opens with the metaphor of birds being snared as this seems to apply not only to Mouchette's life, but to Bresson's approach to the viewer as well.
For what, after all, is the director attempting to do here? Are we really to regard this as an unblinking gaze into the life of an abused, outcast girl? If so, why is Bresson so intent on excluding even the most fleeting moments of joy (or at least humor) that enter even the darkest of lives (I believe a philosopher once said "alas, joy too must have its day")? It is pretty telling that the one scene involving happiness for Mouchette is the most monotonous and lifeless in the picture (the bumper cars). Not only are we not allowed to experience her joy, but Bresson is careful to distance us from the real experience of her pain as well. This is done by the use of "gestures" (particularly prominent in Bresson's later films) that "signify" a character's experience rather than giving us the person's individualized emotional and visceral reactions to events. Thus the assault on Mouchette is shown in a distant, almost pantomimed manner, her relationship with her father is suggested by dropping coins in his hand, a disembodied hand slapping her face, etc. So, are we really to identify with Mouchette, to feel her pain, seeing how her experience of life intersects with our own in only the most symbolic, muted fashion? Is this really "compassion" and is this really Bresson's purpose?
Or is Mouchette a figure that Bresson uses (and dehumanizes), as literally every character in the movie uses her, to achieve other purposes? In this case the selling of a particular view of the world. One which sees the world as a snare, both in its joy and its pain, that is "saved" only by the (symbolic) suffering of the innocent, and transcended/transformed only by death. In other words a viewpoint that that advocates looking beyond (or turning away from)life to find "transcendent" truths. A view based on judgement rather than acceptance. And if this is "the truth" why must so much of what we experience as truth (such as joy, intimacy, occasional feelings of "oneness" with the world) be so forcibly excluded? Are these all really illusions, the world simply a snare? And without acceptance of ALL of Mouchette's reality can she,or any of us, really be redeemed?
Yes, Bresson is a meticulous, incisive, and occasionally powerful filmaker. But is he really honest? Are there some TRUTHS that he can't face (and so desperately restricts his view). In MOUCHETTE we are a little more aware of the puppeteer's strings than usual. 7 out of 10.
For what, after all, is the director attempting to do here? Are we really to regard this as an unblinking gaze into the life of an abused, outcast girl? If so, why is Bresson so intent on excluding even the most fleeting moments of joy (or at least humor) that enter even the darkest of lives (I believe a philosopher once said "alas, joy too must have its day")? It is pretty telling that the one scene involving happiness for Mouchette is the most monotonous and lifeless in the picture (the bumper cars). Not only are we not allowed to experience her joy, but Bresson is careful to distance us from the real experience of her pain as well. This is done by the use of "gestures" (particularly prominent in Bresson's later films) that "signify" a character's experience rather than giving us the person's individualized emotional and visceral reactions to events. Thus the assault on Mouchette is shown in a distant, almost pantomimed manner, her relationship with her father is suggested by dropping coins in his hand, a disembodied hand slapping her face, etc. So, are we really to identify with Mouchette, to feel her pain, seeing how her experience of life intersects with our own in only the most symbolic, muted fashion? Is this really "compassion" and is this really Bresson's purpose?
Or is Mouchette a figure that Bresson uses (and dehumanizes), as literally every character in the movie uses her, to achieve other purposes? In this case the selling of a particular view of the world. One which sees the world as a snare, both in its joy and its pain, that is "saved" only by the (symbolic) suffering of the innocent, and transcended/transformed only by death. In other words a viewpoint that that advocates looking beyond (or turning away from)life to find "transcendent" truths. A view based on judgement rather than acceptance. And if this is "the truth" why must so much of what we experience as truth (such as joy, intimacy, occasional feelings of "oneness" with the world) be so forcibly excluded? Are these all really illusions, the world simply a snare? And without acceptance of ALL of Mouchette's reality can she,or any of us, really be redeemed?
Yes, Bresson is a meticulous, incisive, and occasionally powerful filmaker. But is he really honest? Are there some TRUTHS that he can't face (and so desperately restricts his view). In MOUCHETTE we are a little more aware of the puppeteer's strings than usual. 7 out of 10.
helpful•6934
- muddlyjames
- Jan 5, 2002
- How long is Mouchette?Powered by Alexa
Details
- Release date
- Country of origin
- Language
- Also known as
- Muset
- Filming locations
- Apt, Vaucluse, France(landscape scenes)
- Production companies
- See more company credits at IMDbPro
- Runtime1 hour 21 minutes
- Color
- Sound mix
- Aspect ratio
- 1.66 : 1
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