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.
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…
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…
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.
"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…
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!)
A rhyming repeating dance of "thieving hands". The crime narrative is parred down with a bare paucity and ahistorical pathos, preceded with a "this is not a thriller" disclaimer. A good introduction to (and framework for) Bresson's rhythmic rigor, transcendences emerging from a still uniquely organic inside-out trajectory.
Love with silence, cry without tears.
My first Robert Bresson film: wish I could remember more other than me thinking it was pretty good? I should have paid more attention I think. My bad.
Short but brilliant
Fascinating pickpocketing coreography. I wish I could say the same about the character study but Bresson actor-directing and the thesis statements in this movie left me cold.
A film entirely reliant on the way Bresson shoots and frames physical beings and how they lie and deceit each other, in order to make its spiritual punches punch harder. Luck may as well be faith, and prison may as well be damnation.
A methodical & restrained, yet elegant study about the precarious combination of loneliness & compulsion. This first viewing was interesting. Not more, not less.
Crime never pays
Money serves here as a fascinating tool; for Michel, it appears almost to be his only way of expressing love. He gives money to both his mother and Jeanne as a way of expressing some apparent emotion, but does not expand on this emotion verbally. The fact that he goes about getting money illegally fits into the equating of love with money as well. He is unable, or perhaps merely unwilling to earn money in traditional means, and is equally unable/unwilling to accept the love of others. Pickpocketing, indeed, appears to be the only way at all in which he is adequately capable of engaging with society and fulfilling his social needs; his other attempts at interaction are stilted and…
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…