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Diary of a Country Priest (1951)
"Journal d'un curé de campagne" (original title)

Approved  |   |  Drama  |  5 April 1954 (USA)
8.0
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Ratings: 8.0/10 from 6,029 users  
Reviews: 44 user | 53 critic

A young priest taking over the parish at Ambricourt tries to fulfill his duties even as he fights a mysterious stomach ailment.

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Nominated for 1 BAFTA Film Award. Another 7 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
Priest of Ambricourt (Curé d'Ambricourt)
Jean Riveyre ...
Count (Le Comte)
Adrien Borel ...
Priest of Torcy (Curé de Torcy) (as Andre Guibert)
Rachel Bérendt ...
Countess (La Comtesse) (as Marie-Monique Arkell)
Nicole Maurey ...
Miss Louise
Nicole Ladmiral ...
Chantal
Martine Lemaire ...
Séraphita Dumontel
Antoine Balpêtré ...
Dr. Delbende (Docteur Delbende) (as Balpetre)
Jean Danet ...
Olivier
Gaston Séverin ...
Canon (Le Chanoine) (as Gaston Severin)
Yvette Etiévant ...
Femme de ménage
Bernard Hubrenne ...
Priest Dufrety
Léon Arvel ...
Fabregars
Martial Morange ...
Deputy mayor (L'Adjoint)
Gilberte Terbois ...
Mrs. Dumouchel (Mme Dumouchel)
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Storyline

In Ambricourt, a young Priest (Claude Laydu) arrives to be the local parish priest. The community of the small town does not accept him, and although having a serious disease in the stomach, the inexperienced and frail priest tries to help the dwellers, and has a situation with the wealthy family of the location. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Approved | See all certifications »
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Details

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Release Date:

5 April 1954 (USA)  »

Also Known As:

Diary of a Country Priest  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Tobis-Klangfilm)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The main character's bizarre, unhealthy eating habits, not to mention his obsessive isolation and loneliness, were reportedly an influence on the character of Travis Bickle in Taxi Driver (1976). See more »

Quotes

Curé d'Ambricourt: All is grace.
See more »

Connections

Referenced in 2 x 50 Years of French Cinema (1995) See more »

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User Reviews

 
A rewarding experience
24 December 2005 | by (London, England) – See all my reviews

Journal d'un cure de Campagne is about a young priest who, whilst suffering from an illness, is assigned to a new parish in a French country village. The story is told by the priests recounting of his experiences in his diary. This itself is a powerful narrative device, as we not only understand the experiences of the protagonist, but also how he reflects upon them with hindsight, relating his observations to faith and human nature. As he carries out his duties in his new parish though, he is treated with animosity and hatred by many of the villiagers, because they see him as an unwanted intrusion into their lives. As he becomes estranged, and to an extend outcast by the townspeople, he increasingly relies on his faith for strength and comfort, however even this begins to fade as he witnesses the townspeople purvey sinful and malicous behaviour, damaging his faith in human nature.

The films of Robert Bresson, although wonderful, can at times seem austere almost to the point of being drained of any emotion. Before passing judgement though, it is important to understand his aims and understanding of film making. Bresson believed that the theatrical performing of actors had no place in cinema, and so typically cast non-actors for his films. The reason for his desire to suppress performing, was to avoid the melodramatic histrionics common with conventional acting as he believed it shortchanges the complexities of human emotion that in real life are much more subtle and not always on the surface. A large part of who we are he believed, is determined by experience, circumstance and environment. These elements affect the way we 'perform' and obscure who we are at the core essence of our being. Bresson was much more concerned with this person, whom we are when all our affectations are removed and we are laid bare. In Diary of a Country Priest, Bresson had Claude Laydu repeat scenes many times in order so that he would rid himself of all natural desire to perform. This suppressed emotion re-introduces the intricately nuanced expression, replacing the scenes with a delicate and contemplative lilt. Like Ozu, another master of character expression and portrayal, Bresson proves that by adopting this method in conjunction with his wonderful compositions, it forces the viewer to replace the lack of gratuitous emotion with their own feelings, resulting in moments of genuine pathos and emotion.


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