Pickpocket

Robert Bresson's 1959 film Pickpocket offers a stark, unsentimental look at a young man's descent into petty crime. The story centers on Michel, played by newcomer Martin LaSalle, who initially stumbles into thievery almost as a casual experiment. His life takes a turn when his mother passes away, an event that seems to push him further into his illicit pursuits.

Despite pleas from his friend Jacques (Pierre Leymarie) and the concerned neighbor Jeanne (Marika Green), Michel finds himself drawn to honing his skills as a pickpocket. He falls in with a pair of less-than-competent criminals, all while a persistent police inspector (Jean Pélégri) watches his every move. Michel grapples with the allure of easy money versus the possibility of a legitimate life, a struggle that defines this lean, black and white French drama.

Clocking in at a brisk 75 minutes, Pickpocket is a masterclass in minimalist filmmaking. Bresson, known for his 'poetic realism,' strips away extraneous emotion and dialogue, focusing instead on precise gestures and the psychological weight of actions. The film's spare style and unflinching gaze at its protagonist's moral erosion have earned it a significant place in cinema history, reflected in its strong audience rating. [edit]

The film opens with Michel, a young man seemingly adrift, committing his first pickpocketing act. This initial theft is portrayed not as an act of desperation, but almost as an intellectual exercise, a test of his own nerve and the world's vulnerability. His mother's death shortly after marks a turning point, not in a way that inspires grief or introspection, but rather as a catalyst that propels him deeper into the criminal underworld. Michel’s detachment from conventional morality becomes increasingly apparent as he begins to associate with a pair of less refined thieves, Pierre and Kassagi. He engages in pickpocketing with a calculated precision, viewing it as a game of skill and intellect.

Michel attempts to maintain a semblance of normalcy, even trying to convince his close friend Jacques that he is not involved in criminal activities. However, his carefully constructed facade begins to crack under the growing suspicion of a persistent police inspector. This inspector, who seems to possess an uncanny understanding of Michel's methods, represents the ever-present threat of consequence. The film meticulously details the practicalities of pickpocketing, utilizing Bresson’s signature style of focusing intensely on the hands and their intricate movements, conveying more through gesture than through dialogue.

A significant relationship in Michel's life is with Jeanne, a neighbor who harbors feelings for him. Jeanne offers a glimpse of a path toward a conventional life and genuine human connection. She is aware of Michel's illicit activities and tries to steer him away from them, but he remains captivated by the thrill of his criminal pursuits and the intellectual challenge they present. His internal conflict intensifies as he navigates the precarious balance between his chosen life of crime and the potential for redemption that Jeanne represents.

As Michel's confidence grows, so does the risk. He experiences periods of both success and near-capture, living a life on the edge. The film avoids overt moralizing, instead focusing on the psychological and existential implications of Michel's choices. His actions are presented as a consequence of his internal state, his struggle with societal expectations, and his search for meaning. The narrative follows his increasing skill and daring, interspersed with moments of introspection and encounters with those who represent the life he is moving further away from. The core of the story lies in Michel's internal battle, his desire for autonomy, his fascination with crime, and his latent capacity for genuine connection, all of which are tested as his life unravels.[edit]