Sunday, December 7, 2008


This is a brilliant film in regards to the sheer vacant un-concern that accompanies the main character in all his attributes. The film itself is shot in a way to give that sense of an unexcited push for release in that everything is "long." There is no emotion, or expression of emotion and that is what Bresson was trying to get at. Michel, the main character, is caught in such a drab world, that all he can do to feel any sort of excitement is to steal. This might have been Bresson's intent in this film. The fact that the world exists as such, to where it can drive people to become devoid of any emotion is what this film is pointing to.
The way the Michel and most of the other characters in the film interact is unexciting and robotic. There is no exchange of affection, rarely is there any hostility, and words are spoken but nothing is ever expressed. At first glance, it is just a boring, nonchalant film. On second glance however, the stark in-expression is actually the push-pin that makes the viewer tick. For example, when Michel's accomplice's are arrested there is no huge chase scene with car crashes and robbers running scared. They simply walk out quietly with the police. The only "excitement" in the film is when Michel first starts stealing and breaking out of his shell. 

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