A reconstruction of the trial of Joan of Arc (based entirely on the transcripts of the real-life trial), concerning Joan's imprisonment, interrogation and final execution at the hands of ... See full summary »
Charles drifts through politics, religion and psychoanalysis, rejecting them all. Once he realises the depth of his disgust with the moral and physical decline of the society he lives in, ... See full summary »
Henri de Maublanc
A young woman kills herself, leaving no explanation to her grief-stricken pawnbroker husband. We learn in flashback about how they met, married, and how she failed to adapt her lifestyle to... See full summary »
The 'dreamer' is Jacques, a young painter, who by chance runs into Marthe as she's contemplating suicide on the Pont-Neuf in Paris. They talk, and agree to see each other again the next ... See full summary »
Guillaume des Forêts,
A million miles away from 'Camelot' or 'Excalibur', this film ruthlessly strips the Arthurian legend down to its barest essentials. Arthur's knights, far from being heroic, are conniving ... See full summary »
Laura Duke Condominas,
Michel takes up picking pockets as a hobby, and is arrested almost immediately, giving him the chance to reflect on the morality of crime. After his release, though, his mother dies, and he rejects the support of friends Jeanne and Jacques in favour of returning to pickpocketing (after taking lessons from an expert), because he realises that it's the only way he can express himself...Written by
Michael Brooke <firstname.lastname@example.org>
I just saw pickpocket for the first time last night, and thought it was the best bresson film i've seen- the others being l'argent, balthasar, and an early one (possibly about a prostitute?) of which i can't remember the title. It's a minimalist masterpiece- only kiarostami's 10 has taken a step onwards and stripped cinema even closer to its essentials- which has more than one moment of transcendence, through a decisive act breaking the compulsive repetition- felt both by protagonist and audience. the only point i have to add is that i found it very hard to stop comparing it to crime and punishment, american gigolo and taxi driver. It's incredible how bresson makes the lesser crime of stealing seem just as immoral as a brutal murder, and the film is sufficiently cinematic and different from its obvious thematic source that it is incomparable to dostoyevsky's novel (which happens to be my favourite book). However, i think the combination of schrader's identification with, and admiration for, both bresson and the russian master, when combined the psychological mastery of scorsese and the uniformly excellent acting of taxi driver make it the better film. Is this perhaps because it gives the audience more sensation, and therefore more to react to, than pickpocket? In this it is closer in tone and style to crime and punishment and notes from the underground, and also perfectly encapsulated a period of time and social mentality just as dostoyevsky did. however, these points are largely irrelevant, for without pickpocket these links would not exist; and without bresson, cinema would have been severely impoverished.
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