Guerrini, Loretta, Discorso per una lettura di L'argent di Bresson, Rome, 1992. Hanlon, Lindley, Fragments: Bresson's Film Style, Cranbury, New Jersey, 1986. Sloan, Jane, Robert Bresson: A Guide to References and Resources, Boston, 1983.Д«ordwell, Narration in the Fiction Film, London, 1985.ДЄrnaud, Philippe, Robert Bresson, Paris, 1986. de, Robert Bresson o cinematografo e o sinal, Lisbon, 1978.Д®stГЁve, Michel, Robert Bresson: La passion du cinГ©matographe, Paris, 1983. Schrader, Paul, Transcendental Style on Film: Ozu, Bresson, Dreyer, Los Angeles, 1972. 1, New York, 1970.Д¬ameron, Ian, The Films of Robert Bresson, London, 1970. PublicationsДҐ reviewers, The Films of Robert Bresson, New York, 1969.ДЄrmes, Roy, French Cinema Since 1946, vol. Burel editor: Raymond Lamy sound engineer: Antoine Archimbault production designer: Pierre Charbonnier music: Lully.Д¬ast: Martin Lassalle ( Michel) Marika Green ( Jeanne) Pierre Leymarie ( Jacques) Jean Pelegri ( Instructor) Kassigi ( Initiator) Pierre Etaix ( 2nd accomplice) Mme. Producer: AgnГЁs Delahaie screenplay: Robert Bresson photography: L. In cinemas and available on Blu-ray from the BFI Shop (phone 020 7815 1350) or via Details of the BFIвЂ™s Bresson season at: : Lux Films: black and white, 35mm running time 75 minutes. For this to happen requires discerning viewers not to judge by outward appearances, but to interpret for themselves what is going on inside each character and, in the process, interrogate those feelings deep within ourselves which God alone knows about. Echoing some words of Fra Giovanni Giocondo (c.1433-1515), the director is beseeching us, like his characters, to look beyond the gloom of the world and see that within our reach is joy. His laconic people search for meaning in the bleak world that they are regarding. Action is pared down in preference to a use of image and sound to tell its tale of transgression and redemption through divine grace. Schrader himself has made several films employing this technique, notably American Gigolo (1980), which he openly acknowledges owes a debt to Pickpocket.Д«ressonвЂ™s films are markedly minimalist. It is a cinematic style in which there is a movement away from a вЂњcold, unfeeling worldвЂќ into a вЂњstriving towards the ineffable and invisibleвЂќ. Reflecting on this, Michel speaks of вЂњthe strange path I had to takeвЂќ to reach what the writer-director Paul Schrader has described as a transcendental moment. He experiences his motherвЂ™s forgiveness and also the unconditional love of a young woman, Jeanne ( Marika Green). Yet we witness his compassion as well as the misdemeanours. Whether it is Adam and Eve (about whom Bresson longed to make a film) or Michel, itвЂ™s a case of pride going before the fall. His questioning of normative (one might say Christian) morality may transpire as being a form of ambivalent self-scrutiny. Whether he ultimately considers himself to be one of NietzscheвЂ™s Гњbermenschen remains an enigma, as indeed does much of MichelвЂ™s erratic behaviour. He is referring to those petty thefts, which he justifies to the police inspector ( Jean Pelegri) as the entitlement of supermen вЂњwhose consciences select themвЂќ to behave irrespective of any laws. An image of banknotes - representing filthy lucreвЂ™s ability to corrupt the human soul - immediately follows MichelвЂ™s opening voiceover, which (reminiscent of BressonвЂ™s Diary of A Country Priest) accompanies his writing about his вЂњdeedsвЂќ. It isolates Michel from others, including his ailing mother, from whom he has stolen money. Here, Michel (Martin LaSalle, at the time an untrained actor) experiences what Bresson called a вЂњterrible solitude that is a thiefвЂ™s prisonвЂќ. Pickpocket is based on Crime and Punishment, BressonвЂ™s first foray into Dostoevsky, but by no means his last. His work is regularly showcased in retrospectives around the world, and it is once again the turn of the British Film Institute (BFI) to host a Bresson season, вЂњOf Sin and SalvationвЂќ, at its theatre on the South Bank in London. If imitation is the sincerest form of flattery, there are many who have since adopted his spare and austere methods in their own work. The movieвЂ™s director, Robert Bresson (1901-99), a devout Roman Catholic, is considered a giant by many critics and filmmakers alike for a style like no one elseвЂ™s.

PG) begins with a disclaimer: вЂњThis film is not a thriller.вЂќ That may be so, but this re-released 1959 film does have great moments of tension as it unites two souls through an act of grace.

Pickpocket films