The Pick Pocket

---

Arthur's knights, far from being heroic, are conniving A society lady engineers a marriage between her lover and a cabaret dancer who is essentially a prostitute. Follows the lives of the Borgen family, as they deal with inner conflict, as well as religious conflict with each other, and the rest of the town.

Pickpocket

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 A remarkable film even though the ending is anti-climactic.

An amateur pickpocket gets lucky and meets Kassagi, the real-life pickpocket who served as the film's technical consultant. The most amazing scene is the one where three pickpockets rob one passenger after another on a train, taking wallets, passing them off to each other, then emptying and dumping them or in one case, neatly replacing the lightened wallet in a man's pocket! The light-finger techniques seem more or less authentic, although I imagine the director's script might have called for inauthentic bits of business.

No, I am not a pickpocket; I was a mark once, and they really messed up my life for a couple of days, but I have been fascinated ever since. The pickpockets in this movie follow the European style of stealing men's wallets practically face-to-face. American pickpockets traditionally prefer to steal from behind to avoid any chance of a mark seeing their faces. When I was taken, I never saw, heard or felt anything. LaSalle as Michel is deadpan, but that seems to be part of his character.

pick (one's) pocket

Now and again, he bubbles a little with suppressed feeling, mostly anger. His passion for Jeanne Marika Green is so completely submerged that it does not come out until the end. If you think I'm spoiling anything, you will want to skip the on screen legend that opens the film because it gives away even more. As a love story, this does not work. I get it, though: Something happened before the film begins that makes Michel extremely ashamed. He can't be with his mother or anyone he cares about because of his guilt. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!

Enjoy unlimited streaming on Prime Video. There was an error trying to load your rating for this title. Some parts of this page won't work property. Roger Ebert sees echoes of Dostoyevsky 's Crime and Punishment in the film. 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. 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.

From Wikipedia, the free encyclopedia.

Pickpocket French theatrical poster. A Spiritual Style in Film. Retrieved March 2, The Films of Robert Bresson. New York Review of Books.

pickpocket

A Tribute to Torben Grodal. Museum Tusculanum Forlag At times in this thief's journal his visual discourse touches the sublime. Pickpocket is an intricately staged, truly intimate character study from the imitable Robert Bresson instantly solidifying itself as one of his greatest works. Is he as dead inside as he appears to the outside world?

His criminal existence alienates him from the people he cares about even as he continues to pursue it. This mysterious film composed of silence and emptiness accumulates extraordinary power, and unleashes it in a profoundly moving moment. Pragmatic to the point of being almost mechanical, Pickpocket it is paradoxically saturated with soulfulness.

A marvel of poise and circumspect emotion from French auteur Robert Bresson. It is, at base, about self-fulfilment and redemption through love -- a common enough idea in films. But this epic has seldom been equalled as a philosophical treatise on the subject.

Bresson's unemotional style and wooden performances may not be accessible to everyone but it is impressive how he holds our interest in the many minutiae of the pickpocketing sleight of hand tricks, making them seem more like an art than a condemnable deed. The appeal of "Pickpocket" is less about its story the title is self-explanatory and more about the deft economy of Robert Bresson's direction. Not a stroke is wasted.

The depictions of intricate, tag-team pickpocket moves are especially sharp -- the eye can barely follow the action. The untrained actors look strangely dazed throughout the film.

This may be an intentional effect, but their stupor leaves little room for an emotional connection. Luckily, the movie is over so soon that it never has a chance to turn dull. Written and directed by acclaimed french film-maker Robert Bresson, Pickpocket is the stark story of an impoverished, would-be writer who takes to a life of crime, partly as a necessity and partly for the simple thrill of it. Michel Martin LaSalle rarely evokes much emotion during the course of the film, but his eyes speak volumes.

His apartment is so stark, it doesn't even have a handle or lock on the door, just a flimsy little hook to keep it shut when he wants some privacy. He seems to have only one suit, which he wears at all times.

His friend Jacques Pierre Leymarie tries to help him get a job, so he might buy some new clothes even, but it's an effort that's wasted on a disinterested party. When Michel comes to visit his dying mother, he meets the woman next door who has been caring for her. Jeanne Markia Green strikes his interest, but her pretty face is nothing compared to the allure of pickpocketing.

He makes friends with other pickpockets, and learns a great deal from his companions he's always studying to better himself at this craft. Only his conscience, in the guise of a police inspector, ever slows him down or gives him thought.

• X-FACTOR
• Knowledge as Culture: The New Sociology of Knowledge
• Sufis in Western Society: Global networking and locality (Routledge Sufi Series)
• Baron Von Thrauthemburg - A Brief History (Royalty)
• Drought Gardening: Storeys Country Wisdom Bulletin A-73