Bresson is to French film what Dostoevsky is to Russian literature. ——Jean Luc Godard
If Bresson is the first director, then other directors can only retreat to eighty or nine places. ——Andrei Tarkovsky
During the three-day National Day holiday, I had time to watch the representative work "Pickpocket" (1959) by French director Robert Bresson. Because of the strong admiration of a generation of French New Wave directors, Bresson is well-known, and I personally watched the "Death Prison Escape", a modern religious story under a minimalist framework, only because of the classic review of a previous issue of "Global Screen" , And then downloaded all the work of the guide in one go and stored it on the computer. High school life is tight, and Bresson’s movie is just over an hour, which is just right, but after watching it, I know that this one-hour capacity can also create a stellar "Crime and Punishment."
The black and white subtitles at the beginning of the film are quite silent in the style of the era. They explain the general plot and main theme of the story as on the title page of every world famous book. "An adventure and its unusual path make two people who never met The soul meets." The first shot is the subjective memoir writing of the protagonist. "I know that insiders are usually tight-lipped, and laymen are talking, but I have both." A fixed shot buried a wheat. Geffen, let the audience think of a [counter-mainstream] protagonist image. The most connection between the camera and the camera is to dissolve and fade in and out. It is indeed the way the drama goes, and the rhythm of the film is maximized. change.
The main storyline begins. The first scene is a noisy racecourse with loud voices. The thick banknotes in the lady’s handbag occupies all of the screen, and the pure and childish face of the actor Michelle officially debuts, correct The styling will not let anyone guess the identity of his pickpocket, and he is indeed determined to enter this industry for the first time. The actor completely follows Bresson’s [no performance theory] action, that is, it is not for the tension of the drama but for the intention to create To perform with reality is simply to keep as much as possible outside of your eyes as much as possible, reminiscent of Buster Keaton. A close-up of the hand grabbing the banknotes, and then panicking but stepping out very calmly, feeling extremely relaxed, but the first theft ended in failure, and the male protagonist finally got away with the money because the police had no actual evidence. During the whole process, the actors’ performances were restrained to the utmost extent, without the provocation of fangs and claws, completely creating a cold atmosphere, as if this was a Russian movie that was so cold to the bones.
After a short rest at home, it was time to reveal the purpose of the theft. Michel came to the door of the gloomy old mother's house like a puppet but did not enter. It turned out that he was forced to raise money for the chronically ill old mother because of the need of life. , On the one hand, because of guilt, I was forgiven for stealing money from my mother. Turning to head downstairs, the heroine Jeanna made her debut in a sacred light (corridor light).
I don’t know what other people think about seeing this scene. At this moment, I really saw what an angel looks like; at the same time, I also saw Bresson with a pipe in his mouth, laughing wildly in French style. I frantically beat those additive directors with big mouths. Although the heroine is Eva Green’s aunt, she is indeed a natural beauty, but she does have such a shocking beauty only in this movie. When you look at Doss In Tojevsky’s novels, you must have innumerable such simple angel images in your mind, but you can never be as specific as Bresson thought. In comparison, the portrayal of the male protagonist is also dwarfed. You should The man of "Death Prison Escape", please come back.
Because of guilt, Michelle only dared to ask the neighbor Jeanna to transfer the stolen money to her mother, but she dared not hurried away seeing her seriously ill biological mother. Michel is not a thief, he also found his good buddy Jacques to introduce himself to the job. At this time, the police chief reappeared. The scene of the three clashing with the hotel points out Michel’s action Inner logic. We have all committed big and small crimes, wasting time, deceiving others... But when we act like this, we often don’t feel too guilty, usually because we see some novel viewpoints and then believe in it. Insist on the molded self, among which is this existentialism that is very harmful! ! ! And our protagonist, Michel, happens to be an existentialist in a room full of books. As a freed "innocent", he still instills in the sheriff "there is a kind of person with talent in society. Their specific skills are an indispensable part of this society, so the law should not restrict them, but their own moral sense to restrict themselves, but it will be like this at the beginning, and they will end the world when they see it. Just turn black and white upside down, this can get it back on track." To be honest, if I didn’t take a look at the title, I would have thought it was a superhero movie, and the skilled pickpockets were indeed portrayed as one in this movie. Kind of "anti-super British" role.
In the practice of stealing time and time again, Michelle has also been caught in the current situation, but more success has made him completely give up "finding a job and making money to support his family like a normal person", and his skills are not enough. What should I do if I am so mature that I can't worry about it all day long? Finally, one night, a "Superman" appeared.
Box after box in the language of the movie lens is very important. Here, the door frame is used cleverly to emphasize the appearance of the thief. With wonderful classical music, the bandit skillfully demonstrated the basic skills of various techniques to Michelle.
Hands are like people. They have their own intelligence, their own will. They (often) take themselves to places where we did not direct them.
The dazzling close-up shots and elegant superimposed editing turned the theft into a stunning fingertip ballet. People can't help but ask, are these gentlemen in suits and leather shoes really stealing because they are forced by life? I’m afraid it’s not because of simply enjoying the work of theft itself, that kind of condescending feeling of looking down, the kind of contempt for "fools" after success, you don’t need to work like a cow or horse to benefit, I’m afraid it’s from being this master. It was only when he led in the door that Michelle's final ending was truly doomed. Those who betray themselves will be betrayed by fate.
At the same time, his mother left helplessly. In the bell of the church, Jeanna seemed to be closer to Michelle's heart. The conversation between the two in the room after the funeral was another highlight. "Janna, do you think we will accept the trial" "Yes, but don't worry, she (your mother) is perfect" "What trial? According to the law? What law? Absurd!" "Don't you have no faith?" "I believe in God, but only for three minutes." Although I thought you didn't put "Crime and Punishment" here, I also understand that there must be a famous name in the screenwriter column. What does three minutes of faith mean? Maybe it's asking for forgiveness for a while, maybe it's asking for a decision to go to his own heart. In short, Michelle is by no means a pure villain who is obsessed with stealing technology. From this, the three clues of the film are finally clear, let Na Xian's forgiveness With love, the soul of the sheriff’s line is revealed, and the thief’s line is deep in the quagmire... The story behind is naturally going on as in the book. The thief will eventually miss his hand. The sheriff is rejected for rescue. I got on the train leaving Paris and went back to France. Jeanna was already the mother of the child. Jacques, who had always been honest, waved away because Jeanna didn’t want to marry someone he didn’t love, Michelle. Although Er deeply regrets it, he still came back after all. He came back innocently. He found a job and planned to do a good job. Most of the salary he received from the exchange was used to raise her mother and son. Life seems to be on the right track. , Despite the hardships, it is still beautiful...
If you don’t say how the master is called the master, the audience will not be able to hold the audience without the whole point of shocking ending. So, like the later "Taxi Driver", Michelle came to the racetrack again by chance and new friends. The turning point here is very interesting. Michel did not immediately steal the addiction and start "killing", but after correcting the number, he found that the horse bought by the friend did not win the lottery but was carrying a lot of money, so he determined that the other party was The wicked, stealing the wicked’s money by yourself is considered an indirect atonement. After all, this money is used to raise the lonely mother and child. God forgive me, I promise this is the last order...
However, God did not smile because of these three-minute temporary beliefs. The so-called "friends" were undercover by the police to fish. The close-up shots of the hands given this time ended in iron handcuffs that shocked the eye.
In fact, Michelle insists on going his own way and blindly insists on his own opinions. It is not that this time he will be caught next time. Don't judge everything in the world by his own set of values. Failure is inevitable. At the end of the film, Bresson seemed to be connected with Tuo's mind, and shot a surprising ending. The stranger in the iron cage, and the saint who had nothing outside the cage, finally came together. The cage can't stop the skin. Blind date can not stop the communication of hearts. "Janna, in order to finally meet you, I have walked what an unusual path." This is called vision, this is called pattern, life is a layer of iron that can be determined at will, "I" is one A martyred man, he finally reached this path after many hardships—to communicate with "you". You may be able to criticize Bresson for empathy with the prisoner, or you may be able to conspiracy theory that Michel is still stubborn and persistent, but Faced with such a picture that has shaken the history of film, I just want to say: "Enjoy, enjoy these two happy faces, enjoy this simple and holy lens, enjoy this unparalleled movie, which can truly be called a movie. Things are really running out."
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