A Man Escaped (Criterion Collection) by Francois Leterrier

This 1956 film by Robert Bresson is based on the real-life story of French resistance fighter André Devigny who was imprisoned in Lyon by the Nazis during WW2, and would also no doubt have been informed by Bresson's own war-time experience of incarceration at the hands of the Nazis. On the face of it, it would also appear to be obvious why Bresson should have chosen such a subject for his film, since its subject matter of solitary incarceration with ample room for personal cogitation and reflection is perfectly suited to Bresson's minimalist style of cinema. Indeed, this is one (of many) reason(s), why Un Condamné à Mort S'est Échappé is such an effective portrayal of a man's struggle with his inner self, whilst at the same time providing a brilliantly fascinating, gripping and tense drama.As was Bresson's trademark, he once again cast novice actors for the film and again secured a remarkably assured, if characteristically restrained, performance from François Letterier as Lieutenant Fontaine, who has been jailed (and later sentenced to death) in a Lyon fortress for espionage. Indeed, whilst Bresson's film calls for relatively little (and minimalist) acting per se, Fontaine's softly spoken and solemn voiceover narration is brilliantly effective in conveying the prisoner's alternating moods of fatalistic despair and quiet determination to secure his freedom. Similarly, Bresson creates a brooding atmosphere of tension as Fontaine's ingenious plans for escape are constantly under threat of discovery by his captors (as befalls Fontaine's co-conspirator, who is summarily shot). Regular Bresson cinematographer, L H Burel's austere black and white prison shots are also particularly effective as we witness Fontaine's laborious attempts to dismantle his wooden door with a spoon and then, using a mix of wire bed lattice, blankets and metal frame, constructs the tools to enable him to scale the prison walls.In addition to Letterier's performance, Maurice Beerblock is good as Fontaine's surly (and initially silent) cell neighbour Blanchet, whose reticence to collaborate is eventually overcome by Fontaine's enthusiasm for escape, whilst Roland Monod's sceptical priest Deleyris allows Bresson to cast doubt on the possibility of divine intervention, as, in response to the priest's entreaty to trust in God, Fontaine responds, 'He'll only save us if we give him a hand'. Probably the other most notable acting turn is delivered by Charles Le Clainche as young French soldier François Gost, whose collaboration with the Nazis has backfired on him, and who Fontaine initially suspects of being a stool pigeon, before realising he has no choice but to enlist his new cell-mate in his escape attempt.Of course, Bresson's film title does rather give away the ending, but this does not (for me) detract from the nail-biting and exhilarating final escape sequence, at its conclusion accompanied by the soaring choral music of Mozart's Mass in C Minor (which has provided a superbly atmospheric, if sporadic, soundtrack throughout the film).

"The wind bloweth where it listeth." God will only save us if we give him a hand, thus says the Resistance fighter who has been condemned to death. He has luck on his side and the fates for the narrowest of margins. He has other prisoners aware he is about to make a break and they both urge him to go or to take caution. Un Condamne a mort s'est echappe, is the film as art form reduced to its purest elements, based as it is on the true story of Andre Devigny,who was imprisoned and sentenced to death by the Nazis during the 2nd World War.Imprisonned in a spare cell at the Lyons Fortress of Montluc he watches everything closely and plans meticulously, making pencil notes and obtaining spoons to act as chisels and clothing and mattress material to make ropes, and bending metal from his light surround into hooks. He taps on his cell wall to communicate with a neighbouring prisoner who thinks he hasn't a hope but gives his blessing. He also has found a contact in the prison yard to get letters out to his family.Fontaine(Leterrier), impassive and inscrutable , has total command of the 3 by 2 metre space he inhabits, with the eyes of a vigilant bird and we get an image of his hands chipping, banging, bending,platting. Our vision is limited to what he can see-a small part of the prison yard, the outer corridor and downstairs in the yard when the men empty their pots and have a wash in the communal wash-house daily. We also only hear what he hears, the approaching foot-steps or the noises of men being taken from their cell to their execution in the yard.Bursts of machine-gun fire.Orsini, in the cell opposite escapes too early and is soon executed.The innate hope and humanity of the prisoners surfaces as they struggle for meaning beyond their captivity. This is a thrilling tale of courage and faith transcending physical limits through iron purpose and sensitivity soft as a feather and a final liberation with a moving denouement to the accompaninment of Mozart's sublime Mass in C Minor.

Super film. I had no idea just how good this film would be before hand. But its absolutely gripping from the beginning to the end. There are other good reviews that will tell you all about the film but it is one I will be watching again. I love Robert Bresson,s films and this one doesn't disappoint. If you haven't seen it then I would certainly recommend it.

great film

Perhaps it was authentic to made this film.

Pretty good transfer (artificial eye blu-ray) and a very good film.

Brilliant true French movie...a must for any wartime collection

Its just great to get away from Hollywood ! As its based on a true story, there's no unnecessary dramatics, just an absorbing film with natural realism, well worth watching.