All the films from all the editions, including those subsequently removed, presently totalling 1177. 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.
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…
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.
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!)
A suit that's slightly too large. Impassive eyes that hold yours just past the point of comfort and suddenly drop. Delicately roving hands that slide over a cuff, a button, a purse clasp, and slip inward - or shy away.
I'm not sure when I've been more uncomfortable in the company of a protagonist. Watching him is like an experience of repeatedly, accidentally catching someone masturbating - and then we both walk away, pretending no one saw such a private compulsion made public.
In the final moments, the impassive eyes change; they are less secretive, hidden; there is, even, an open, innocent eagerness. My discomfort drops for the first time.
But then, "Fin." What has that last scene resolved? I am not sure.
"Can we not admit that certain skilled men, gifted with intelligence, talent or even genius, and thus indispensable to society, rather than stagnate, should be free to disobey laws in certain cases?" ~ Michel
If dourness can be beautiful and numbness artistic, then Robert Bresson is the writer-director to make it so. I watched this just a couple of days after viewing his Diary of a Country Priest, and the similarities are striking. There's the same laconic, solitary central figure -- this time a thief named Michel played by lanky Martin LaSalle -- and there's the recording of personal thoughts in a journal. Although this film takes place in Paris among lots of people, Michel is just as alone in…
Bresson carves away until it's only the skeleton of a film left, only what is strictly necessary. In his seemingly inhumane ways of creating films, he never seems to fail to strike me as peculiarly human. The sustained deterministic delivery, void of almost any semblance of emotion, never seems to fail to evoke some sort of emotion. It's really a fascinating thing; Bresson's films seem two-dimensional in theory, but in practice become layered and complex. So much so that Bresson seems to me to be one of the most necessary directors of cinematic history. Having said that, this is not my favorite film of his.
This delivery that the director imposes upon his subjects doesn't compliment the film as well…
Adorei na primeira vez que vi e me decepcionei profundamente ao rever. Não lembrava da didática voz sobreposta, da trama inconsistente, da encenação majoritariamente pobre e pouco inventiva, das fusões entre cada cena, dos insistentes planos e contraplanos - a quantidade de vezes em que um personagem entra num ambiente pela porta e há uma transição em fusão para ele já sentado em frente ao seu interlocutor é aterradora. Dessa vez, mesmo uma das marcas de estilo de Bresson, como seu uso do "ator modelo", me pareceu falhar. Onde uma vez vi profundidade e mistério, não encontrei muita coisa que não um truque de direção. Resta a simplicidade elegante de alguns planos, o belo ballet de mãos nas sequências de furto, e o olhar fulminante e arisco de Marika Green (essa sim segue conseguindo me tocar). Sai da sessão triste, como se tivesse me despedido de um amigo que não tenho muita esperança em reencontrar.
This is almost like a companion piece to 'A Man Escaped' in terms of tone and narrative. This is a very quiet introspective film that, while not a world beater, is definitely worth a watch.
I first encountered the work of Robert Bresson through a film called Au Hasard Balthazar, a work so boring that Ingmar Bergman claims he couldn’t sit through it. I was about ready to never watch another Bresson movie again, but his 1956 film A Man Escaped managed to find it’s way to me via round 41 of the CS film club. To my shock and amazement, it was a gripping film that was a thousand times more enjoyable than that stupid Balthazar movie. So, I was glad to have a chance to see Bresson’s 1959 follow-up Pickpocket.
So did I like Pickpocket as much as A Man Escaped? Not so much. The two movies have definite stylistic similarities (both follow…
I can happily say that my first encounter with Bresson was a good one. Clocking in at a mere 75 minutes, the film contains no scenes that could constitute filler. Every scene is crucial, and it's all strung together with graceful elegance, especially scenes that depict the intricate swindling of pickpocketing. Bresson resists the temptation to moralise, and he refuses to heap pity on the protagonist, whom he has crafted as a coolly enigmatic everyman.
A well-acted adaptation of Fyodor Dostoyevsky's "Crime and Punishment".
Scavenger Hunt 07.16 - Travel the World [List]
2. A movie set in a place you want to travel
I think I might prefer the spiritual framework and camera of L'Argent to this earlier [and I imagine far more celebrated] Bresson film. Still, I really adored this a whole bunch, and the pickpocket scenes--in particular the one on the train--are divinely put together, the kind of stuff that makes cinema so engaging. I'm still wrestling a bit with the note the film's ending decides to invest in; it is intended as a build that informs the rest of the film for sure, but it somehow doesn't mesh for me. That just means it's not perfect though, and pretty much nothing…
The story sounded like it could have been really powerful, but I found myself not really caring for anything happening.
It's well plotted and LaSalle was good, but there was no emotional interest, and after awhile it did get boring, but I'm still willing to check out Bresson's other work.
the trio of thieves train scene was so well choreographed i could've cried
The art of ending.
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 hight quality "short" films. Easy…