Perhaps it's because I missed the first couple of minutes of A Gentle Woman (driving around Berkeley for 1/2 hour trying to find a parking spot probably put me in a bad mood too), but I found it droll & uninteresting.
I think it's one of his masterpieces, as well as one of his most ascetic films (in terms of character, setting and action) and I can't understand why Ms. Bresson would want to keep it out of the public eye. It is very Godardian though, and I can see how the cult of genius would feel that it tarnishes the myth of Bresson's absolute originality. Personally, I find the very perceptible mutual influence of the two directors on each other fascinating and fruitful. A Married Woman
and A Gentle Woman
are very similar films in many ways, while both uniquely breathtaking.
At least 1/2 of the movie was taken up by characters either leaving or entering a room or a building.
Shots like these are absolutely crucial to what Bresson attempts with his style. In fact, I think it's exactly this that makes Un femme douce
so crucial a pert of his oeuvre; his complete control of the space of the apartment and his incredible sensitivity to how the characters move through it.
If Mylene Bresson is worried about her late husband's image, then her time would be more wisely spent suppressing The Devil, Probably
. A very silly film, which stands in an awkward and ambivalent position relative to its subject, has the most theatrical but least charismatic of all Bresson protagonists, and that includes a seal-clubbing scene that comes off like a student filmmaker's failed attempt at Godard.