All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Michel is released from jail after serving a sentence for thievery. His mother dies and he resorts to pickpocketing as a means of survival.
Well I must say it's very nice of Pickpocket to start off by telling us it's not a thriller.
I'm slightly pissed off by that opening. It could be because I'm over-tired and annoyed and possibly being over-sensitive, but there's a slightly sneery tone behind it that almost smacks to me as suggesting that it would be beneath this film to be labelled a mere thriller. It's a really odd and stand-offish way to start a film, I must admit, and while I suppose in one way I do slightly appreciate its honesty, I think it could have done me a big favour in furthering that honesty.
"This is a…
A film that defies star ratings. Deeply unsettling. I still don't know if I love it, but I do know that it's absolutely brilliant.
So after the overwhelming satisfaction I found with Bresson's A Man Escaped, I immediately dove into his next chronological work Pickpocket. With a brisk 75 minute running time and an intriguing premise, I expected to have the same response that I had with his previous work. Whilst I didn't have the immediate affection for this film as I had for A Man Escaped, I have wrestled with it more after the fact to the point that it is showing it's true colours and I am very eager to watch it again.
With Bresson, one must adjust the way they read and understand film, and it helps to recognise his techniques. He throws convention out the window and strips away what…
Coming off the high of the absolutely splendid Bresson film A Man Escaped, I can't help but feel slightly disappointed by the disconnect I felt with much of Pickpocket. Really though, this four star disappointment is more a compliment to Bresson than an insult, because had this been my introduction to his work I probably would be thrilled with the results.
As this is my second of his works I am getting a feel for his style, and clearly he likes to maintain a strong focus on his main protagonist during much of the running time. Here we follow Michel (played by Martin La Salle) closely as he is released from prison for his work as a thief and he…
A.V. Club review. Try as I might, I can't make the final line reverberate back through the entire film, which is what would need to happen for it to have the ecstatic effect Bresson clearly intends. Had enormous difficulty addressing that very personal reaction in the review while simultaneously acknowledging Pickpocket's importance and the fact that many people consider its ending one of cinema's greatest, which is one of several reasons why I think a blanket ban on the use of first person is wrongheaded. (Hi various editors!)
This review reportedly contains spoilers. I can handle the truth.
I'll start by talking about the scenes depicting the actual pickpocketing, which even THE BOOK notes are unlike any thievery scene ever filmed. It's truly amazing how intricate these scenes are and how Bresson was able to capture such excitement in these scenes. Is it true that the second pickpocket Michel meets at the bar was actually a magician or something, who also served as an advisor on the film, showing the filmmakers how to actually do these jobs? It seems that they'd have to have SOMEBODY on set to show them just how to make this stuff look genuine. What I didn't like about the movie is how we're never allowed to get very close to the character of…
This was my first Bresson, several years ago, and after a few more of his films since, I feel I can confidently state that some of the things that bothered me then are still bothering me now, especially one particular elephant in the room. What once seemed like stilted, lifeless acting that I chalked up to lack of familiarity with Bresson, I now know is stilted, lifeless acting because I've seen much better performances in movies like A MAN ESCAPED. I know these were non-professionals and that we should cut them some slack, but even Rossellini and De Sica were able to wring affecting, gut-punch level emotion from non-professionals. Here the performances are literally distracting, making it hard to enter…
Is this about narcissism? Or the things poverty can make someone do? Both, I suppose.
The choreography of all the stealing is awesome.
Being old and made by someone renowned doesn't necessarily make something a classic. Or, does it? Meh.
This review reportedly contains spoilers. I can handle the truth.
Feels too shallow, specially with the unavoidable comparisons against Dostoiévski's Crime And Punishment. Surely Bresson made some pretty memorable theft scenes, maybe even breathtaking. But i feel like the movie falls short on every other attempt to expose it's ideas or replicate the ones from the source it takes inspiration, not only when it comes to guilty itself but also when it pokes on redemption.
Michel's a character who, again, feels too shallow. He doesn't show nearly as much grief as expect from the main character of a movie inspired by Crime And Punishment, but he also seems to take a fair amount of pleasure from the thefts, with his attempts at redemption and demonstration of guilty only coming later on with the eventual arresting.
I'd write more but i'm tired.
Spectacular piece of cinema, gorgeously crafted and modeled. I still prefer A MAN ESCAPED over this, but unreservedly recommended to anyone who professes love to cinema.
Subtle pacing, some might even say leisurely - the long silent stares between dialogue feels very modern, and you can tell how it influenced the likes of Paul Schrader. It gives you so much time though to just appreciate people's faces (along with that patented Bresson eyeline, almost straight into camera). And the train station sequence is pure magic.
This movie understands its character extremely well, maybe even as well as movies like Taxi Driver. This is a movie about a man who resorts to pickpocketing because of the situations his life has thrown at him. His mother is dying, he doesn't have a job, and he needs SOME form of income. However, as the story continues the viewer begins to realize that he more chooses to become a pickpocket than is forced to.
The main character, Michel, performs actions that cause for some tense scenes, and some captivating scenes. This movie, especially for the length, was extremely enjoyable. It was an interesting movie with an interesting character wound up in an interesting plot. I would say this movie…
"You say that you love your mother."
"More than myself."
That reply is not a lie or a boast, and it's one that positions the character of Michel in the Bressonian tradition of wronged souls-in-transit. Most of Bresson's characters wear uniforms of sorts, and Michel trudges around Paris being swallowed by a sack of a suit that seems to be eating him alive, just as his own psyche is.
When he first starts to steal, there's an electricity to it that vanishes quickly as the action becomes more painful than pleasurable. The filmmaking becomes more clinical to match his questioning of himself: Is he damned by society's rules or his own? He seems to believe in the Nietzschean ideal of…
It's easy to see the influence this has had on movies like Taxi Driver or even Nightcrawler. I think Pickpocket understands its protagonist better even than those films.
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…