A Man Escaped fits well into such descriptive categories, and while its richness is not exclusively a function of its being a literary adaptation, its fidelity to details from Andre Devigny’s book unquestionably contributes to the density the viewer noticed. She (and I) like the quality in visual art of works that might look different from a distance and close up. One described it as a “rich, dense” film, one which a viewer could watch several times and each time notice new details or features that enrich the viewing experience. Recently I had the opportunity to screen Robert Bresson’s masterpiece, A Man Escaped, with two viewers who had never seen it before. Other times, they might confirm your own or others’ observations, and there is definitely pleasure in that. Sometimes new viewers see new things that you have missed, and there is a pleasure in that. One of the underrated pleasures of being a cinephile is sharing a first viewing experience of a classic film with a friend or loved one who is viewing it for the first time. Bresson’s film is one of the best literary adaptations I have seen.
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