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…
Mi primera de Bresson. Elegir ver esta pequeña maravilla ha sido una GRAN opción.
Pickpocket is a truly amazing piece of cinema. More than any other film I've seen, Pickpocket reflects the viewer; that is, in many ways, Pickpocket is blank slate that relies on being interpreted according to the viewer's interpretation, moods, desires, etc. Thus, with every viewing, Pickpocket seems like a new film with new meanings (that were or weren't there the whole time).
For me, Bresson's technique of stripping actors of their emotions has the opposite of the desired affect: I find his characters cold and unhuman, and ultimately hard to care about and empathize with. There is some fantastic camera work and the story is compelling, but the final scene left me feeling empty, like much of Bresson's work.
A great Bresson approach to the crime film. Incredibly, this film begins with a disclaimer that this is not a thriller type of film, but one that delves into the inner recesses of the human mind to find what it is that makes someone act in a certain way. Bresson is after something deeper than simply the action of committing a crime, though he does provide incredible detail to the pursuit of mastering this type of behavior.
Like all Bresson films, the actors have their poker faces on; they play their lines as bare as possible. Typical of Bresson, none of the actual expected scenes are shown. He skips over major events in order to focus on the results rather…
A quiet, elegant movie that explores the life of a criminal, but at an odd emotional distance from its subject. As the main character Michel learns the skills required, we are given insight into his methods, and at times we are privy to his thoughts, but it isn't until the end that we are given access to his emotional core, as if we are discovering the truth of his heart at the exact moment when he does. I would not have guessed that this would be one of the most romantic movies I've ever seen. It's beautiful.
In the fifth of a brief thirteen film career, Bresson's minimalist style is in evidence again in a story that has been said by some critics to be essentially an adaptation of Dostoyevsky's Crime And Punishment.
The pickpocket in question certainly commits several crimes and is eventually punished but there is also redemption of sorts as he comes to realise his love for the woman who stands by him after his arrest..
"What a strange path I had to take"
Pickpocket is absolutely stagnant. What is executed is executed very well, however simply not much is executed or even attempted. Pickpocket is a film lacking much of anything, stripped down to such an unapologetic extent to not even feature even the bare essentials of telling a remotely compelling narrative.
I entered Pickpocket, aware of Italian cinema's influence on this period of French cinema, fearful that Bresson simply put his own spin on Vittorio De Sica's Bicycle Thieves, in telling the story of a man who was driven to the life of a thief due to his circumstances. However this was not the case, in fact Pickpocket told a much different and unfortunately…
reserved austere very good one to contemplate, Michel is a poor man's Raskolnikov
A spiritual companion with "A Man Escaped", Bresson's "Pickpocket" is a slow-burning anti-thriller that demonstrates Bresson's love for detailed methodology.
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…