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These first few scenes are exciting and engaging while I certainly don’t like Michel, I very much want to see what happens to him next. Nearly caught, his crime is impossible to prove, and so he begins a new life, eeking out a meager existence as the titular pickpocket. The fleet film begins with Michel (Martin LaSalle), a clever young man with job opportunities but no job of his own, stealing money from a woman’s purse.
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In an age when likeability is often seen as one of the most important traits in a movie protagonist, this film is an excellent demonstration in how that is not always the case. Sometimes, indeed, the antagonist is a more appealing character. My sympathies are not always with the protagonist. Robert Bresson’s 1959 masterpiece Pickpocket is not about likeable people. Pickpocket (Robert Bresson, 1959): France "Pickpocket: Robert Bresson-Hidden in Plain Sight".
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^ Joseph Cuneen, Robert Bresson: A Spiritual Style in Film.Pickpocket has been paraphrased by other films, such as Leos Carax's Les Amants du Pont-Neuf. Schrader's admiration for Pickpocket led to his contribution in an extra in The Criterion Collection's DVD release in 2005.
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In addition, his screenplay for Martin Scorsese's Taxi Driver bears many similarities, including confessional narration and a voyeuristic look at society. 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. Why does he avoid her? Bresson never supplies motives. Michel does not want to see his mother, but gives Jeanne money for her. She comes to Michel with the news that his mother is dying. Michel, like the hero of Crime and Punishment, has a 'good woman' in his life, who trusts he will be able to redeem himself. The reasoning is immoral, but the characters claim special privileges above and beyond common morality. "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. Roger Ebert sees echoes of Dostoyevsky's Crime and Punishment in this film. The film is considered an example of "parametric narration" (in which the style "dominates the syuzhet or is seemingly equal in importance to it". However, both fragments are taken from orchestral suite no. The film uses two pieces of orchestral baroque music, which the credits attribute to Jean-Baptiste Lully. On one such visit, Michel realizes he is in love with her. Returning to France, Michel goes back to steal at the horse track, where he is caught redhanded by the police. The inspector then just leaves, and Michel decides to leave the country. 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 figuring it was her son who stole the money. Michel's mother dies, and he goes to the funeral with Jeanne.
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However, the cops failed to find his stash of money. Michel goes back to his apartment realizing that it was all just a ruse to search his apartment. Once there, the inspector barely glances at the book. 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 with it. But after stealing a watch, Michel leaves Jacques and Jeanne at the carnival. Jacques goes on a date with Jeanne and invites Michel along. Visiting his mother, Michel meets Jeanne ( Marika Green) who begs him to visit his mother more often. The inspector (Jean Pélégri) releases Michel because the evidence is not strong enough Michel says it's not a crime to have cash. He leaves the racetrack confident he was not caught when he's suddenly arrested. Michel (Martin LaSalle) goes to a horse race and steals some money from a spectator.