Review: Pickpocket

“The supernatural in film is only the real rendered more precise,” Bresson says. “Real things close up.” Schrader reminds us that Bresson’s viewpoint of the everyday reality consists of elimination rather than addition or assimilation; a reminder that is clearly seen in the renowned classic film Pickpocket.

Pickpocket is not a classic because of phenomenal acting performances or jam-packed action sequences, but rather the film is a classic because of the film as a whole, with an extremely well written script, and an exceptionally complex and layered lead character. And in the end, I agree with Joshua Lim’s connection that the “story is crucial” to Bresson’s achievement in Pickpocket.

One might be taken aback at the non-acting or static mundane shots of life. But they are life, the scenarios, dialogue, struggle and reality of life. Bresson draws the viewer into the film by removing the acting and action, only to have the story remain, in its skillfully crafted simplicity. The stark remainder makes the high points in the story higher, the low points lower, and the pivotal scenes breathtaking.


The moral journey in the film also grasps the transcendental style better than the films we have previously viewed in class. The pickpocket believes his worldview of bettering others with guile and skill brings balance and serves an ultimate good in the world. His belief is a selfish outlook that only sees his power and task at hand, rather than gaining a higher perspective where a love is waiting and a motive of sacrifice for others could be a goal greater than the ultimate lift.

The nature of a pickpocket is one of a taker. I loved that the story neatly unfolds that once the pickpocket learns to accept what is given and give of himself, he is finally free. Ironically behind bars, only able to clumsily smear his nose on his true love’s forehead.