Every film from Roger Ebert's "Great Movies" essays.
Pick Pocket is a corporation drama from French avant-garde director Robert Bresson about a pickpocket thief.
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…
Bresson's Pickpocket stands as the only film of his so far that I haven't been astounded by by its conclusion. I'm not entirely sure why that is. It is a film that made a dramatic impact on its release in 1959, and its reach extended prominently into the 80s (with influential film makers riffing off its visual turn of phrase), but I have to admit, as much as I admire the film, for me it is too sketchy to be completely successful.
I guess that sketchiness shouldn't come as too much of a surprise. I have to applaud Bresson's ambition in attempting to encapsulate Dostoyevsky's 'Crime and Punishment' in just 70 minutes but I can't help but feel he picked…
Bresson's Pickpocket is concise and simple, but deals with issues of man that go beyond any sort of simplicity. Alienism, loneliness, and the confused search for self-importance are just a handful of the issues facing the young French pickpocket Michel, who spends a majority of the film practicing and perfecting his skill, while fully aware of the authority's suspicion of him. Despite this suspicion, he continues with his craft, but throughout it he appears lost. No concrete reason is given for his tendencies. Could he simply be obsessed with voyeurism? Is he a bordering kleptomaniac? Or perhaps Michel is simply a lost man, separated from the world, love and family, looking for a form of self-acceptance. The film grows and…
Unlike the last movie I watched (The Fountain), Robert Bresson’s Pickpocket is a seemingly simple film that is anything but (simple). It’s a very insightful, yet ambiguous, film about one man’s troubles with not just his crimes but himself.
This is my first encounter with Bresson’s work, and certainly won’t be my last. His style definitely had an influence over Paul Schrader (as he gives an introduction) and Scorsese’s Taxi Driver. It utilizes narration from the main character as an apology of sorts, not for us or the world, but to himself. Martin LaSalle gives a great performance as Michel. He moves with a methodical, yet reserved, manner. This is exactly what (Bresson) wanted when hiring non-actors for roles. There…
Pickpocket is my first Bresson, I really didn't know what to expect going into this film. What I got was a fantastic film,Michel is Travis Bickell before Travis Bickell was even thought of. Isolated, lonely and conflicted with the world he's in, he drifts aimlessly pulling off stealing like it's an art. But he has a feeling that his luck is close to ending. At first I thought Michel unlikeable but as the film went on I really couldn't take my eyes off of him. Martin Lasalle is a quiet actor but he pulls off a great character piece here, at first he seemed kinda wooden but after awhile I could see he was doing some pretty great acting. Even though it's a short film at 75 minutes I kinda wished it was a little bit longer but at the same time, I liked that it ended the way it did.
Another wholly melancholy affair from master auteur Robert Bresson. Pickpocket is a poised and sure film, meticulously crafted and expertly executed.
The film has no major climax and its emotional range is rather small, but there is no doubting the film will captivate you from its opening sequences to its remarkable and unforgettable finish.
Bresson’s simplicity and precision works well here. The visually spectacular pickpocketing scenes are the highlight in a film that at times is a bit of a dull affair.
If a crime is pulled so majestically and precisely, does that still make it a crime? Or does it get elevated to the level of art in the moment? A sort of balletic achievement that can only be pulled off through the dedication of high minded men. This is often a question in the subtext of great crime and heist films i.e. Heat and Jean-Pierre Melville films. But I don't think a film has quite tackled the subject like Robert Bresson's Pickpocket. Mixing scenes of perfectly choreographed robbing and philosophical and sociological musings, this film so fully into this question that its attempts at a redemptive narrative fall just short of being endearing. Nonetheless this film bristles with a reverence…
Don't hate me plz
Michel is released from jail after serving a sentence for thievery. His mother dies and he resorts to pickpocketing as a means of survival. - IMDB
For some reason I was expecting this to be better than I thought it was. When I read the premise, I was immediately intrigued. That intrigue was kept afloat for the majority of the film but when it was all said and done, I felt I wanted more. Maybe it was the short hour and fifteen minute run time, not entirely sure.
Something I found tough to go along with was some of the action involved with the actual jobs they pulled. As much as I'd like to suspend my belief, I couldn't with…
I just don't find this as terribly interesting as the two preceding Bresson films, largely because I don't think the main character is as strongly conceived. Maybe I'd be less annoyed by him without that half assed philosophy (that he's a superman, and because he can successfully steal he should be able to because he's so important to society) that's never really explored beyond that one scene. The redemption at the end does work, but not really because I was invested with the character (in the two previous films I found the Priest's suffering easy to empathize with, and we get basically no information about the prisoner other than what his current objective is, which is inherently compelling) but…
This review reportedly contains spoilers. I can handle the truth.
O génio de Robert Bresson: Com este, o cinema é entretenimento e arte, não somos simplesmente atacados por toneladas de conteúdo intelectual nem carregados com entretenimento proveniente da ação (é a mistura mais sublime que poderia surgir entre estas duas opostas vertentes cinematográficas).
O tirar prazer através do roubo: este que se torna superior a qualquer outro cliché, o protagonista junta-se à vítima, sente-lhe a respiração e espera pelo momento erótico de lhe roubar a carteira.
A palavra que melhore os descreve é Bresson: Não chegamos a conhecer verdadeiramente qualquer personagem com estas representações "à Bresson" em que os atores não passam de paredes falantes para sermos nós a desvendar o que lhes vai pela cabeça.
A Banda Sonora... Não há muito que se lhe diga, apesar de surgir apenas em duas ou três cenas, o tema escolhido em Pickpocket é tão bom como o filme.
I was not on board with the austerity of form and wooden performances in this film. The "update" of Crime and Punishment's plot is really just a re-appropriation of it in a context that doesn't make sense; the plot doesn't add up; most of the characters never find their place in the story (I'm looking at you, Jeanne). I sighed loudly several times during the last fifteen minutes. This film was not for me.
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