Pickpocket

Location: Home
Seen Before: Yes

When I first saw Pickpocket, more than a year ago, I was not let down, persay, but was expecting a different type of film. It was my first leap into the film and style of Robert Bresson, and what a leap that is. I liked it though, and sometime later went on to see Diary of a Country Priest, which I immediately responded to much more quickly.

This second viewing of Pickpocket had me appreciating the film and Bresson even more. The time he takes telling the story; how anticlimactic it is (in both scenes and the whole story itself); the way the non-professional actors add to the narrative and characters--this is all rather remarkable. Paul Schrader remarks that this had been the most important film in his life, and the comparison between it and Taxi Driver yields many similarities. Ultimately, however, Bresson tells a much sadder tale with an even lonelier protagonist. Travis Bickle is an easier character to relate to because he wear his emotions on his sleave, where as Michel hides it all from us (as does Bresson, through his general non-use of manipulating cinematic techniques). Bickle is also a type of character that we can, oddly enough, look up to for his courage--despite whether or not he is doing the "right" thing. Michel, on the other hand, is so introverted that it feels like we are never really able to get inside of his head and stand by him, but we nonetheless root for and are interested in him.

I'm glad this is finally out on Criterion.