Les anges du péché
- 1943
- Tous publics
- 1h 26min
NOTE IMDb
7,2/10
1,9 k
MA NOTE
Ajouter une intrigue dans votre langueAnne-Marie joins a Dominican convent as a novice where she knows Therese. After shooting a man for which she was imprisoned, Therese protests her innocence, reluctant to tell her secret.Anne-Marie joins a Dominican convent as a novice where she knows Therese. After shooting a man for which she was imprisoned, Therese protests her innocence, reluctant to tell her secret.Anne-Marie joins a Dominican convent as a novice where she knows Therese. After shooting a man for which she was imprisoned, Therese protests her innocence, reluctant to tell her secret.
- Réalisation
- Scénario
- Casting principal
Christiane Barry
- Soeur Blaise
- (non crédité)
Jacqueline Champi
- Une religieuse
- (non crédité)
Andrée Clément
- Soeur Élisabeth
- (non crédité)
Elisabeth Hardy
- Une religieuse
- (non crédité)
Bernard Lajarrige
- Un gardien de la prison
- (non crédité)
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More people should see this beautiful film! It is easily available on amazon.fr (with subtitles), free for streaming on youtube or google video, or for download on the usual sites. It looks great and the print is fine for 1943. The grim corridors of the prison and the foggy streets outside the prison, makes for a suitably noirish contrast to the shining white walls and robes in the convent. Although the professional actors and the suspenseful plot make this an atypical Bresson film, the careful camera framing and the discrete panning produces typically sparse and detailed interiors. The plot may be melodramatic and music a bit intruding at times, but almost every scene is a joy to behold. There are a lot of interesting little touches that show in great detail the daily life and the more mundane side of convent life, clothing regulations, mores etc.
I find that I watch this film more for the aesthetic quality of the individual scenes than for any statement the film as a whole might have. There are also many oddities: For example when Therese knocks upon the convent door after shooting her betrayer, sister Anne Marie is chanting a text from what, one might assume, is a book of prayers. The title, however, reads: "Leo Tolstoj : Krig og fred", which makes it a Norwegian or Danish version of Tolstoy's War and Peace. Strange? But the most impressive and memorable sight in the film for me is the early scene when the submissive sisters lay face down with arms outstretched cross-like on the cold floor. It is almost frightening in its austere beauty, and also very strange for anyone without convent practice. It is the strangeness that does it. Like every Bresson film, I guess.
I find that I watch this film more for the aesthetic quality of the individual scenes than for any statement the film as a whole might have. There are also many oddities: For example when Therese knocks upon the convent door after shooting her betrayer, sister Anne Marie is chanting a text from what, one might assume, is a book of prayers. The title, however, reads: "Leo Tolstoj : Krig og fred", which makes it a Norwegian or Danish version of Tolstoy's War and Peace. Strange? But the most impressive and memorable sight in the film for me is the early scene when the submissive sisters lay face down with arms outstretched cross-like on the cold floor. It is almost frightening in its austere beauty, and also very strange for anyone without convent practice. It is the strangeness that does it. Like every Bresson film, I guess.
An absorbing melodrama with great performances from Renée Faure, Sylvie and Jany Holt. Novice nun Anne-Marie, slightly worryingly over-confident, embarks on a fervent mission to redeem a particularly troubled convict, Thérèse.
The script is really strong, and particularly as it portrays the life of the convent. The saints'-wisdom-tombola and the conversation in the laundry are charming, and the ceremonies and submissions quietly powerful.
Anne-Marie's urge to do good becomes increasingly insufferable, and then unhinged to the point where she denounces the sisters' pet cat. The cat, rather than her thankless protégé Thérèse, whose response to Anne-Marie's selfless love, or perhaps her foolish religious pride, comes increasingly to the fore in a deeply moving ending.
The script is really strong, and particularly as it portrays the life of the convent. The saints'-wisdom-tombola and the conversation in the laundry are charming, and the ceremonies and submissions quietly powerful.
Anne-Marie's urge to do good becomes increasingly insufferable, and then unhinged to the point where she denounces the sisters' pet cat. The cat, rather than her thankless protégé Thérèse, whose response to Anne-Marie's selfless love, or perhaps her foolish religious pride, comes increasingly to the fore in a deeply moving ending.
This first Bresson effort has not worn well.The director himself did not like it,and it is sure easy to see why.A non -French audience will not notice it,but the actresses here are professional,some of them were stars of the era.The great Sylvie,Renée Faure,Jany Holt were famous in France when they starred in "les Anges du Péché" .Some were to become ,like Silvia Montfort,whose whining acting is in direct contrast to everything RB would do afterward .
Can today's audience relate to those characters?I have my doubts.This is an excellent documentary : a nun's life is no laughing party (for that matter,see also Zinnemann's "a nun's story" and Alain Cavalier's "Thérese").But the nun from the bourgeoisie who tries to redeem a criminal 's soul will not convince anybody,unless he absolutely loves the director.
It's little more than a Sulpician melodrama.
Can today's audience relate to those characters?I have my doubts.This is an excellent documentary : a nun's life is no laughing party (for that matter,see also Zinnemann's "a nun's story" and Alain Cavalier's "Thérese").But the nun from the bourgeoisie who tries to redeem a criminal 's soul will not convince anybody,unless he absolutely loves the director.
It's little more than a Sulpician melodrama.
"Les anges du peche" (Angels of sin) is situated in a monastry of the Dominicanesses from Bethany. This order gives women who have been in jail shelter and a second chance. So not al the nuns in this monastry are angels.
Sister Anne Marie however, who has not been in jail but who has joined entirely out of free will, comes close (to being an angel). Anne Marie sees it as her mission to guide one of the most difficult novices, sister Theresa. Sister Theresa has been in jail, but persists that see was innocent. "The innocent cannot forgive" is her motto.
The relationship between the angelic Anne Marie and the frustrated Theresa is the engine of the story. While watching the film I found out that I dit not always symphatize with the angelic one.
Just as Stanley Kubrick, Robert Bresson began his filmcareer as a conventional director, to develop a unique style of his own only after a few films. His debut "Les anges du peche" (1943) together with "Les dames du Bois de Boulogne" (1945) are generally considered as his two conventional movies. This maybe true for "Les anges du peche" as far as the form of the film is considered. "Les anges du peche" has a plot and the characters are played by professional actors. But the theme of the film (guilt, penitence and redemption) is as Bressonian as a theme could be. This theme fully comes into its own during the marvelous ending.
Sister Anne Marie however, who has not been in jail but who has joined entirely out of free will, comes close (to being an angel). Anne Marie sees it as her mission to guide one of the most difficult novices, sister Theresa. Sister Theresa has been in jail, but persists that see was innocent. "The innocent cannot forgive" is her motto.
The relationship between the angelic Anne Marie and the frustrated Theresa is the engine of the story. While watching the film I found out that I dit not always symphatize with the angelic one.
Just as Stanley Kubrick, Robert Bresson began his filmcareer as a conventional director, to develop a unique style of his own only after a few films. His debut "Les anges du peche" (1943) together with "Les dames du Bois de Boulogne" (1945) are generally considered as his two conventional movies. This maybe true for "Les anges du peche" as far as the form of the film is considered. "Les anges du peche" has a plot and the characters are played by professional actors. But the theme of the film (guilt, penitence and redemption) is as Bressonian as a theme could be. This theme fully comes into its own during the marvelous ending.
10tongue-3
Contrary to what you might expect from a 1943 movie about nuns in a convent, Les Anges du Peche is fast, intense and gripping. The writing (by a Dominican priest, Raymond Bruckberger) is awe-inspiring; nearly every line of dialogue is a cluster of moral and emotional insights. Explored with great wisdom are themes of conformity and nonconformity, selfishness and selflessness, sin and redemption, love, jealousy and bitter resentment, pride and shame.
I am not sure if I have ever seen as forceful a feature debut as Bresson's. Don't overlook it - it is arguably better than his more well-regarded works.
I am not sure if I have ever seen as forceful a feature debut as Bresson's. Don't overlook it - it is arguably better than his more well-regarded works.
Le saviez-vous
- AnecdotesFirst feature film directed by Robert Bresson.
- ConnexionsEdited into Histoire(s) du cinéma: Une vague nouvelle (1999)
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- How long is Angels of Sin?Alimenté par Alexa
Détails
- Durée
- 1h 26min(86 min)
- Couleur
- Mixage
- Rapport de forme
- 1.37 : 1
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