Inspired by the first part of Leo Tolstoy‘s novel “The Forged Coupon,” Robert Bresson explores actions and consequences in the classic L’argent (money), which was his last film and won the 1983 Director’s Prize at Cannes Film Festival.
Following the money
In a capitalistic world, money is everything and the lack, or abundance thereof, has repercussions for everyone. That is the case of Yvon Targe (Christian Patey) who due to the forgery of a 500 billet finds himself in desperate measures to keep his family afloat.
Through this analysis, it’s almost impossible to not to use spoilers, as Bresson’s message evolves and is intrinsically attached to the entire cinematography and story. Having said this, the following text contains spoilers.
As Yvon Targe descends into despair and tragedy, Bresson carefully frames the shots and Patey’s performance, which lacks emotion. This absence of emotion lets the viewer judge the situation in a certain objective way, not influenced by Targe’s destiny. Besides the acting, the camera frames Yvon Targe from afar — never coming close to his emotions, as in Bresson’s perceptive, it’s not the protagonist what matters but his journey — the money and the ultimate freedom.
Suppressing freedom: the static camera
When it comes to capital, the camera gets up-close, remarking the money’s essential role in the film. However, static shots and a sluggish pace of the handling of money, hands, and closed or semi-closed doors suppress the free movement and evoke what Yvon Targe loses because of the absence of cash; i.e.: freedom. Through those semi-open doors and static shots of doors closing, Yvon Targe’s freedom is consistently being threatened by his actions and by society’s pressure. Let me explain the latter.
Losing freedom
Since the start of the film, Yvon Targe needs money, as he receives the forged cash from the photo salon, leaving him with no capital capital. As he is not privileged, like the people of the shop or the boys who started the circulation of the fake money, Yvon Targe looks for another (illegal) alternative and ends up in prison. People with money, however, stay free outside. The prisoners district themselves than the people outside by being educated and polite to their co-prisoners. It’s an upside-down world where the people who are privileged and dishonest live in the free world, while seemingly honest people live in prison. Yvon Targe could have stayed outside, but, contrary to the norm, he turns himself to the police; losing his freedom.
Living in prison and losing his partner, child and job, make Yvon Targe resentful and obsessed with money — now, he has nothing else to lose. He only seeks money, and that is the reason he approaches the old lady (Sylvie Van Den Elsen) who has received an abundant quantity of cash. Knowing that she is an honest person overruled by the power of an abusive family, he invades her home until he creates the unexpected “miracle” of the old lady, as for him her life is unbearable: “Why not just throw yourself in the river?” Yvon Targe gives her ‘freedom,’ from his point of view, and as he still is an honest person, as he goes to the police; offering his freedom for the sake of doing what should be the right action. However, there is also another alternative, Yvon Targe can turn himself to the police because he ceases to pursue the money, which makes him resentful. In any of those cases, he opts for giving up freedom, as he chooses to not to live in a world where the money is crucial.
The ending scene is crucial to the entire freedom metaphor. As money is still the predominant object of people’s desires, more ‘victims’ of the system will go through that cracked door, and that is why the people by the door do not turn and follow the protagonist as the police arrest him. Instead, they continue looking at the cracked door towards the café, as if another person who pursues the steps of Yvon Targe would follow and fall for the absence and desire of money.
In short
L’argent is magnificently and meticulously executed. It’s a film that can have various interpretations and addresses several topics, such as capitalism, abuse, and social class — but in this case, I focused on freedom. Through the pace and camera’s positioning on objects, Bresson depicts freedom being created and restricted. He signals the differences between people with financial power and people who do not have a broad economic capital, as they move freely through the city, compared to the more static shots of the protagonist. By focusing on money, Bresson unfolds a layer that goes deeper than what the camera presets. In L’argent, money can buy freedom but also constrain it.
Rating: 4 out of 5 ATM’s
