"The vacuum, the void, is the face of the infinite. If I seek the void in nature, it's to discover its mirror in the heart of man" declares Rossellini's Blaise Pascal... He also talks about "la mesure infinie du vide", "the infinite measure of the void"...
This is possibly Rossellini's darkest film. Let's hear what Tag Gallagher says:
"Thus Blaise Pascal is a horror movie, like Dreyer's Dies irae (Day of Wrath) (1943). Everything is drenched in suffering, torture, fear, superstition, blood and penance, masses of black, white and scarlet; everyone is writhing in desperate faith, self-mortification and pain. "
The void Pascal Blaise is looking for in nature, is consistently with him, and with others. Everybody seems to have their souls vacuumed out. People talk about joy, but we never see any of it. I think this sense of the void is the key to the film. But there are also many other levels at work...
It's a film where everything is a ritual (even waking up, even death). The trial scenes summarizes all the injustices in the world (and how there are always people who rationalize other people's sufferings). The cause-consequence in the universe is one of the main subjects.
Using Tag Gallagher's words, Blaise Pascal is "a direct experience."
In his wonderful blog post, Dennis Grunes writes that Blaise Pascal "begins matter-of-factly, in the middle of a conversation in the street, and ends on the threshold of eternity." And he describes Pascal’s death scene as "a sober, stunning, luminous passage."
Tag on Rossellini's late period (which is, for me, the greatest period of the greatest filmmaker):
"To say, as many have, that these movies lack acting, psychoanalysis, Murnau-like expressionism, overwhelming emotions and the richest possible cinematic art is like closing one's eyes at high noon and claiming the sun no longer exists."