Victoire de la vie (Henri Cartier-Bresson, 1937) VOSE
L'Espagne vivra (Cartier-Bresson, 1938) VOSE
NitteZtalker escribió:La historia de Cartier-Bresson durante la guerra merecería una película. En 1940 es capturado por los alemanes y enviado a un campo de concentración. Luego de un par de intentos, logra escaparse en 1943 y se une a la resistencia. Durante la liberación de París forma parte del grupo de cámaras que registra el momento.
En "Le retour" filma el proceso de regreso a casa de los prisioneros liberados de los campos de concentración, el reencuentro con sus familiares, aunque tratándose de Cartier-Bresson, mejor imágenes que palabras
"An exploration of film
Cartier-Bresson was fascinated by the possibilities of the moving image. It is said that his bursts of creativity in photography were intervals between his interest in other forms of artistic expression. He studied film in New York under Paul Strand. Possibly he was trying to discover, as in Africa, an instrument that would be even more immediate than his camera in capturing the scars of the world.
His concerns over the rise of fascism were growing. This was a tumultuous period in politics and in his artistic evolution, in which he was reconsidering the relationship between art and social revolution. On returning to Paris in 1936 he assisted the director Jean Renoir on his 1937 propagandist film, La Vie est à Nous [ People of France], for the left Popular Front government. Cartier-Bresson criticised the film as “doctrinaire”, but at the same time he said it expressed the “great feeling” there was for the “Front Populaire.” During the Spanish civil war he co-directed an anti-fascist film with Herbert Kline, promoting the Republican medical services. Cartier-Bresson himself filmed a group of young children playing in the streets. This brief sequence is very beautiful, catching the children's unaffected joyful movement. For him, the freedom of childhood had become a symbol of liberty. He worked as an actor in Renoir's 1936 film Un Parti de Campagne [ A Day in the Country], also in the 1939 La Règle du Jeu [ The Rules of the Game], where he was second assistant. Renoir made him act, so he could understand what it felt like on the other side of the camera.
Cartier-Bresson explains his artistic and personal responses to his experience with film: “A movie director for me is a fiction writer. It's telling the story, which is a wonderful thing, and directing and I'm incapable of giving orders to an actor ... it's not my world.” He was dissatisfied with what he perceived as a lack of spontaneity in the detailed planning and construction needed for filmmaking. It is not necessary to agree with Cartier-Bresson about film to understand that photography was better suited to his artistic talents and temperament.
At Ce Soir
He turned to the political struggle and put his art at the service of the French Communist Party. Between 1937 and 1939 he was a photographer for the party's evening newspaper Ce Soir. The paper's editor was former Surrealist poet and writer, Louis Aragon. During these times many artists abandoned their own independent creative work and subordinated themselves to the service of Stalinism. Aragon is a case in point.
At Ce Soir, Cartier-Bresson joined Robert Capa and David Seymour. They were given more freedom than other photographers, but were obliged, as he explains, to photograph “‘chiens ecrasés' [literally “run-over dogs”—slang for mundane news shots], on a regular basis.” He turned to photographing “the masses”, and his pictures took on a documentary, sociological character, different from his earlier Surrealist-inspired photographs. Galassi explains it in this way: “Beginning in the late 1930s, Cartier-Bresson's attitude towards his own work began to change, and with it his style. In broad terms the shift in attitude may be described as a greater openness to worldly or social as opposed to personal and artistic concerns.”
It is difficult to know how much artistic independence Cartier-Bresson retained from the Stalinist apparatus during this period. At the outbreak of the Second World War, he joined the French army's film and photographic unit. He was captured with 1.5 million others, just as the French bourgeoisie signed the pact that would create the pro-fascist Vichy regime. He was a prisoner of war for three years and worked as a forced labourer under the Nazis.
In 1943, on his third attempt, he escaped from a prisoner of war camp, working on a “safe” farm before travelling to Paris to join the resistance. There he worked with the underground in a photographic unit recording the Nazi occupation and the liberation. During this time he took some of his most enigmatic portraits, of Matisse, Braque and others. On one occasion, he returned to the farm and discovered that, two days before, all those who had helped him had been exposed by an agent and sent to the Buchenwald death camp.
In 1944-45, he worked on another documentary film, Le Retour [ The Return], sponsored by the US Office of War Information, which showed the return of French prisoners and displaced persons. He took his film crew to record scenes that did not need constructing and with players who did not need directing. He was using the film camera to capture the same movement of reality that he sought through his Leica. One scene, where families gather at a train station to meet their sons, brothers and lovers, shows an almost unbearable unleashing of suppressed passions.
As at Ce Soir, Cartier-Bresson faced interference in his work. He was obstructed when he tried to shoot his own scenes and an entire reel was edited out. He describes his desire, as the post-war era began, to be free to use his art to create a better world. “I felt close again to André Breton and to his attitude: ‘First of all, life!' It was later that I became a photographic reporter.”
Extracto de "Henri Cartier-Bresson: From a higher reality to a respect for reality" por Stuart Nolan y Barbara Slaughter
http://www.wsws.org/articles/1999/nov1999/c-b-n05.shtml
La película fue estrenada en París el 24 de Enero de 1946
Resto del Staff
Productor: Norma Rathner; Co-director: Richard Banks, Jerrold Krimsky; Guión: Henri Cartier-Bresson; Comentario On-screen : Claude Roy; Cámera: Claude Renoir; Edición: Henri Cartier-Bresson, Richard Banks; Música: Roger Lannoy; Orquestación: Roger Désormières
Duración: 885 m / 32'26''
Formato: 35mm/sw/1:1,37
Datos del ripeo
Total Streams: 2
Running Time: 0:32:24
Index Chunk: Yes
Interleaved: Yes
Max Bytes Per Sec: 0
AUDIO: 0 - MP3 (0x55)
Average Bitrate Per Sec: 103 kb/s
Samples Rate: 48000 Hz
Channels: 2
Bits Per Sample: 0
SuggestedBufferSize: 576
Sample Size: 0
Variable Bitrate: Yes (32, 128, 160)
VIDEO: XVID
B-VOP: Yes
S(GMC)-VOP: No
QuarterPixel: No
Frame Size: 640 x 480
Frames Rate: 25.000
Color Depth: 12
Total Frames: 48606
SuggestedBufferSize: 87260
Creo que me estoy olvidando de los links
Le Retour (1945) Henri Cartier-Bresson.DVDrip.Nitteztalker.avi
Subtítulos en inglés
Dedicated to Jean-Marie
Los dejo por unos días... se viene el BAFICI
Subtítulos gracias a m0ntaraz:
/ 
Le Retour (1945) Henri Cartier-Bresson.DVDrip.Nitteztalker.(Subtítulos Español (ES-ES) + English).zip 
El regreso. IMDb.
Also Known As: Reunion (USA)
/ Le Retour (1945) Henri Cartier-Bresson.DVDrip.Nitteztalker.(Subtítulos Español (ES-ES) + English).zip El regreso. IMDb.
Also Known As: Reunion (USA)
