Perhaps no other of his novels better reveals Giono's perfect balance between lyricism and narrative, description and characterization, the epic and the particular, than The Horseman on the Roof. This novel, which Giono began writing in 1934 and which was
Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"—which is for him nothing but an attempt to photograph theater and use it for the screen.Director of The Trial of Joan of
