I watched this film the following day after watching ' Une Femme Douce ', and although I had seen both long ago it is good revisiting any Bresson film, especially as both of them have not been seen as much as a lot of his other films. Both are from Dostoyevsky, and despite not wanting to I found that ' Une Femme Douce ' to be first rate while ' Quatre nuits d'un reveur ' is not. I would like to blame it on the poor copy I have of it and perhaps its condition spoiled the unarguable ' beautiful ' imagery. The river Seine and ' les bateaux- mouches ' that glide down on it are a tourist's dream, plus the singers on it. The film is also concentrated on Pont Neuf, also a tourist's dream, and what with the obvious beauty of the two main actor's it is a seductive film. There is also female semi-nudity in it, and this too is part of the ' dream ' of Paris. All of these images have been used before, and I am astonished that Bresson filmed ( for most of the film ) these cliched images of a complex and often very ugly real city. The story is simple. Man saves a woman attempting suicide because the lover she has waited a year for has not turned up. Once more the suicidal theme recurs in Bresson's work, but I will give no spoilers as to how this rather banal story ends. I love Dostoyevsky as much as I revere Bresson but his ' White Nights ' is not as good in my opinion as the rest of his work. I also disliked the choice of making the two leads such aimless, and clearly well off people. At the very least in ' Une Femme Douce ' the two main characters are in work, or seeking work and both Dominigue Sanda and the excellent Guy Frangin ( why did he not do more cinema ? ) are miles ahead in the acting field than Isabelle Weingarten and Guillaume des Forets in this film. The plus side is that the shallow nature of the early 1970's is well conveyed but like a boomerang this returns hitting at the film and making it shallow in itself. I allow any great director a few failures, and a failure this is, at least from my perspective. I give it a 5 because despite the ( to me ) triviality of love lost for one, and found for the other, the signature moments of Bresson are there. The shots of hands, the lack of music, except from within the scenes, and not imposed, and his no doubt clear eye for detail that other directors fail to see are there. A saddening experience from a director I admire so much.
