Robert Bresson was a French film director. Known for his ascetic approach, Bresson contributed notably to the art of cinema. Bresson is among the most regarded filmmakers of all time, he has the most number of films in the Top 250 list of greatest films made published by Sight and Sound in 2012. His works A Man Escaped, Pickpocket and Au hasard Balthazar were ranked among the 100 greatest films made in the 2012 Sight & Sound critics' poll. Other films of his, such as Mouchette and L'Argent received many votes. Jean-Luc Godard once wrote, "He is the French cinema, as Dostoevsky is the Russian novel and Mozart is German music." Bresson was born at the son of Marie-Élisabeth and Léon Bresson. Little is known of his early life, he was educated at Lycée Lakanal in Sceaux, Hauts-de-Seine, close to Paris, turned to painting after graduating. Three formative influences in his early life seem to have a mark on his films: Catholicism and his experiences as a prisoner of war. Robert Bresson lived in France, in the Île Saint-Louis.
A photographer, Bresson made his first short film, Les affaires publiques in 1934. During World War II, he spent over a year in a prisoner-of-war camp−an experience which informs Un condamné à mort s'est échappé ou Le vent souffle où il veut. In a career that spanned fifty years, Bresson made only 13 feature-length films; this reflects his painstaking approach to the filmmaking process and his non-commercial preoccupations. Difficulty finding funding for his projects was a factor. Although many writers claim that Bresson described himself as a "Christian atheist", no source confirmed this assertion, neither are the circumstances clear under which Bresson would have said it. On the contrary, in an interview in 1973 he said, There is the feeling that God is everywhere, the more I live, the more I see that in nature, in the country; when I see a tree, I see. I try to convey the idea that we have a soul and that the soul is in contact with God. That's the first thing. Furthermore, in a 1983 interview for TSR's Spécial Cinéma, Bresson declared to have been interested in making a film based on the Book of Genesis, although he believed such a production would be too costly and time-consuming.
Bresson was sometimes accused of an "ivory tower existence". Critic Jonathan Rosenbaum, an admirer of Bresson's work, argued that the filmmaker was "a mysterious, aloof figure", wrote that on the set of Four Nights of a Dreamer the director "seemed more isolated from his crew than any other filmmaker I've seen at work. Bresson's early artistic focus was to separate the language of cinema from that of the theater, which relies upon the actor's performance to drive the work. Film scholar Tony Pipolo writes that "Bresson opposed not just professional actors, but acting itself," preferring to think of his actors as'models'. In Notes sur le cinématographe, a collection of aphorisms written by Bresson, the director succinctly defines the difference between the two: HUMAN MODELS: movement from the exterior to the interior. ACTORS: movement from the interior to the exterior. Breason further elaborates on his disdain for acting in latter passages of the book, wherein he appropriates a remark Chateaubriand had made about 19th century poets and applies it to professional actors For Bresson, "to think it's more natural for a movement to be made or a phrase to be said like this than like that" is "absurd", "nothing rings more false in film than the overstudied sentiments" of theater.
With his'model' technique, Bresson's actors were required to repeat multiple takes of each scene until all semblances of'performance' were stripped away, leaving a stark effect that registers as both subtle and raw. This, as well as Bresson's restraint in musical scoring, would have a significant influence on minimalist cinema. In the academic journal CrossCurrents, Shmuel Ben-gad writes: There is a credibility in Bresson's models: They are like people we meet in life, more or less opaque creatures who speak and gesture Acting, on the other hand, no matter how naturalistic deforms or invents by putting an overlay or filter over the person, presenting a simplification of a human being and not allowing the camera to capture the actor's human depths, thus what Bresson sees as the essence of filmic art, the achievement of the creative transformation involved in all art through the interplay of images of real things, is destroyed by the artifice of acting. For Bresson acting is, like mood music and expressive camera work, just one more way of deforming reality or inventing that has to be avoided.
Film critic Roger Ebert wrote that Bresson's directorial style resulted in films "of great passion: Because the actors didn't act out the emotions, the audience could internalize them."Some feel that Bresson's Catholic upbringing and belief system lie behind the thematic structures of most of his films. Recurring themes under this interpretation include salvation, redemption and revealing the human soul, metaphysical transcendence of a limiting and materialistic world. An example is A Man Escaped, where a simple plot of a prisoner of war's escape can be read as a metaphor for the mysterious process of salvation. Bresson's films can
Bob Godwin was an American boxer who became the 1933 World Light Heavyweight Champion. He was managed by Arthur. Mike McTigue fell to Godwin in Miami on April 1930, in a ten round points decision. Though Godwin remained aggressive, McTigue appeared to land more blows throughout the bout, the decision was not popular with the crowd; the boxers were criticized for showing little effort in the listless bout. Two months earlier, Godwin took all ten rounds from McTigue in a match in Daytona. Godwin turned pro in 1930, he captured the National Boxing Association World Light Heavyweight title on March 1, 1933 with a ten round points decision over reigning champion Joe Knight at Legion Arena in West Palm Beach, Florida. Godwin employed excellent blocking early in the bout. Though he took many hard licks, he remained aggressive and won the infighting after Knight tired by mid-bout. Godwin took two of the first five rounds, with three even. Drawing on remarkable stamina, the 21-year old Godwin won the next four rounds, leaving the tenth even.
Godwin took a beating in the bout, with both eyes badly swollen by the end. It was a primitive match requiring limited boxing ring generalship. Godwin won a total of three of the five meetings between Knight. Three weeks on March 24, 1933 before a crowd of 11,000 at Madison Square Garden, Godwin lost the belt in a unification bout with Maxie Rosenbloom for the NYSAC, National Boxing Association World, Lineal World Light Heavyweight Titles. Rosenbloom won in a technical knockout 1:16 into the fourth round. Many reporters believed the young Godwin was two injured from his previous fight with Joe Knight to meet the reigning champion, their suspicions were confirmed. Rosenbloom took to hammering Godwin's injured eyes, though they bled badly. Godwin hit the mat from a left to the chin for a count of three, rose only to soon be knocked down for a four count, he stubbornly withstood two more rounds. Many ringside felt. Henry Firpo fell to Godwin on November 1933, in ten rounds at West Palm's Legion Arena.
In the unusual win, Firpo knocked Godwin to the canvas three times in the second round. Godwin's first two falls were no counts. After Firpo was unable to close the deal, Godwin had his revenge, staying on the inside to score continuous body blows. Showing superior boxing and ring craft, he outsmarted his more experienced opponent. At Daytona Beach on March 22, 1934, he defeated Johnny Risko in an exciting ten round points decision. Godwin scored a clear margin over his older and heavier opponent, though Risko rallied to take the seventh and eighth. Pounding with left jabs and straight rights, he had his opponent groggy by the third. Godwin put through sixth, taking each by a wide margin, he retired after a string of losses in 1941. List of light heavyweight boxing champions Career boxing record
Charles Herbert Simpson was an Australian politician, a member of the Legislative Council of Western Australia from 1946 until his death. He served as a minister in the government of Ross McLarty. Simpson was born near Victoria, to Mary Ann and John Michael Simpson, he moved to Western Australia at a young age, in 1905 went to the Murchison goldfields, living at Youanmi for a period. Simpson lived in Rhodesia from 1914 to 1916, enlisted in the British Army, serving in England with the Royal Engineers, he returned to Australia after the war's end living in Paynesville and working as a storekeeper and land agent in Pindar. At the 1946 Legislative Council elections, Simpson won a seat in Central Province for the Liberal Party, he became a government whip in 1948, after the 1950 state election was appointed Minister for Transport, Minister for Railways, Minister for Mines. Simpson served in cabinet until the McLarty government's defeat at the 1953 state election, he was leader of the Liberal Party in the Legislative Council from 1955 until 1958, when he instead joined the Country Party.
Simpson died in office in June 1963, aged 75. He had married Neta Annice Matyr in 1921, with whom he had two daughters