Pickpocket (film)

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Pickpocket
Pickpocketposter.jpg
French theatrical poster
Directed by Robert Bresson
Produced by Agnès Delahaie
Written by Robert Bresson
Starring Martin LaSalle
Cinematography Léonce-Henri Burel
Edited by Raymond Lamy
Release dates
  • 16 December 1959 (1959-12-16)
Running time 75 minutes
Country France
Language French

Pickpocket is a 1959 French film directed by Robert Bresson. It stars the young Uruguayan Martin LaSalle, who was a nonprofessional actor at the time, in the title role, with Marika Green as the ingénue. It was the first film for which Bresson wrote an original screenplay rather than "adapting it from an existing text."[1]

Plot[edit]

Michel (Martin LaSalle) goes to a horse race and steals some money from a spectator. He leaves the racetrack confident that he was not caught when he is suddenly arrested. The inspector (Jean Pélégri) releases Michel because the evidence is not strong enough. Michel soon falls in with a small group of professional pickpockets who teach him their trade and invite him to join them on highly coordinated pickpocketing sprees in crowded public areas.

Visiting his mother, Michel meets Jeanne (Marika Green) who begs him to visit his mother more often. His friend Jacques goes on a date with Jeanne and invites Michel along. But after stealing a watch, Michel leaves Jacques and Jeanne at the carnival. While in a bar, the inspector asks Michel to show him a book by George Barrington about pickpocketing at the station on a convenient morning, and Michel goes down to the police station at the appointed date with it. Once there, the inspector barely glances at the book. Michel returns to his apartment realizing that it was all just a ruse to search his apartment. However, the cops failed to find his stash of money.

Michel's mother dies, and he goes to the funeral with Jeanne. Later, the inspector visits Michel in his apartment, and tells him that his mother had had some money stolen, but later dropped the charges, probably knowing the thief was her son. The inspector leaves without arresting Michel, who decides to leave the country. He travels from Milan to Rome and ends up in England where he "spent two years in London pulling off good jobs", but throws his earnings away on alcohol and women.

Returning to France, Michel returns to Jeanne, who has had a child by Jacques but did not want to marry him and is now left with nothing. Michel begins to work again to support her, but gives into temptation and goes back to steal at the horse track, where he is caught by a plainclothes policeman. Jeanne regularly visits him in jail. On one such visit, Michel realizes he is in love with her.

Cast[edit]

Scholarly and critical reception[edit]

The film is considered an example of "parametric narration"[2] in which the style "dominates the syuzhet [plot] or is seemingly equal in importance to it".[3]

Roger Ebert sees echoes of Dostoyevsky's Crime and Punishment in this film. "Bresson's Michel, like Dostoyevsky's hero Raskolnikov, needs money in order to realize his dreams, and sees no reason why some lackluster ordinary person should not be forced to supply it. The reasoning is immoral, but the characters claim special privileges above and beyond common morality. Michel, like the hero of Crime and Punishment, has a 'good woman' in his life, who trusts he will be able to redeem himself.... She comes to Michel with the news that his mother is dying. Michel does not want to see his mother, but gives Jeanne money for her. Why does he avoid her? Bresson never supplies motives. We can only guess."[4]

As in Diary of a Country Priest, some screen time is devoted to the protagonist's writings, and, as in A Man Escaped, the protagonist's voice is heard more in the voice over than in dialogue.

Soundtrack[edit]

The film uses two pieces of orchestral baroque music, which the credits attribute to Jean-Baptiste Lully. However, both fragments are taken from orchestral suite no. 7 by Johann Caspar Ferdinand Fischer.

Influence[edit]

Pickpocket exerted a formative influence over the work of Paul Schrader, who has described it as "an unmitigated masterpiece" and "as close to perfect as there can be", and whose films American Gigolo, Patty Hearst, and Light Sleeper all include endings similar to that of Pickpocket.[5] In addition, his screenplay for Martin Scorsese's Taxi Driver bears many similarities, including confessional narration and a voyeuristic look at society. Schrader's admiration for Pickpocket led to his contribution in an extra in The Criterion Collection's DVD release in 2005.

Pickpocket has been paraphrased by other films, such as Leos Carax's Les Amants du Pont-Neuf.[6]

Pickpocket is loosely based on the novel Crime and Punishment by Fyodor Dostoevsky.[7]

In a list of her top 50 films, Susan Sontag placed Pickpocket at number one.

Awards[edit]

Nominated

References[edit]

  1. ^ Joseph Cuneen, Robert Bresson: A Spiritual Style in Film. New York: Continuum (2003): 71
  2. ^ Robert Stam, Robert Burgoyne, & Sandy Flitterman-Lewis, New Vocabularies in Film Semiotics: structuralism, post-structuralism, and beyond. New York: Routledge (1992): 74
  3. ^ Lennard Højbjerg & Peter Schepelern, Film Style and Story: A Tribute to Torben Grodal. Copenhagen: Museum Tusculanum Forlag (2003): 92
  4. ^ Roger Ebert, (July 6, 1997). "Pickpocket (1959)". Chicago Sun-Times. 
  5. ^ Sheila Johnston (2003-01-25). "Film-makers on film: Paul Schrader". London: Telegraph. Retrieved 2007-08-18. 
  6. ^ Guy Austin, Contemporary French Cinema: An Introduction. Manchester: Manchester University Press (1996): 134
  7. ^ url = http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970706/REVIEWS08/401010351/1023
  8. ^ "IMDB.com: Awards for Pickpocket". imdb.com. Retrieved 2010-01-17. 

External links[edit]