It is also a minimalist film of Bresson's extremely high standard, the kind of extremely economical audio-visual use, extremely restrained actors, extremely rare bgm, close-up body language to promote narrative, and focus on the texture of natural sound ( The sound of walking, noise, door opening, chair sound, etc.) are very good.
In this film, the various scheduling and editing of the clip in which the male protagonist and the other two partners steal things in the train are nothing to say, and it is called "fingertip ballet" without exaggeration. Other theft clips are also original and powerful. The combination of these fragments and shots can be said to perfectly embody Bresson's philosophy of "the art of film is not reflected in a single picture but in the flow of pictures and pictures".
I want to write about the actors in Bresson's movies. Bresson’s requirements for the actors’ performance should essentially not be to allow them to restore their lives, but to turn them into characters from the perspective of a "saint", so that the characters themselves are full of "transcendence" (instead of " A sense of restoration"). What is "transcendental sense"? In essence, it can be summarized as "less is more", the more sensational the more disgusting, the more restrained the more touching. Therefore, the essence of Bresson's "transcendental sense" is to express extremely deep and profound emotions through extreme restraint. This deep and profound is reflected in "Pickpocket" as being ashamed to meet his mother, indulging in theft, love for Jenny, guilty and evasion of the police, etc. It is embodied in despair in "The Donkey Batsa". The numbing sadness is reflected in the hero's determination to escape from prison, the temptation and hesitation of the inmates in the same room, the tension when preparing for and during the escape, and so on.
But a possible small problem with this performance mode is that this perspective is difficult for the viewer to find, because the human brain is actually easier to process some perspectives that are not higher than our own. Unlike Delaier's "Words" and other films that help us to bring us a transcendent perspective through the setting, "Pickpocket" does not well create a "field" that helps the audience enter a transcendence in the overall atmosphere. However, this small problem was completely solved in "Batza the Donkey".
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