![]() Visible, until the camera cuts to a close-up of his hand performing an action Of Michel is interesting amongst the couple because his actions are not Woman and her assumed husband who appeared in the first shot. Victim, the camera cuts over to medium shot of Michel’s upper body between the Thus, in the next scene, Michel attempts to integrate himself into Oversized suit on, amidst a group of wealthy, well-dressed, upper-classĬitizens. ![]() ![]() The use of the long shot proclaims Michel’s inevitable alienation with his Through a long shot of him contemplating his actions amongst a crowd of people. ![]() Before the act of pickpocketing, Michel is introduced This serves as a foreground for the events that will take place in theįollowing sequence. Michel, the first close-up emphasizes hands and money, as well as, a woman’s Before the introduction of the protagonist Very beginning sequence of the film through the scene at the racetrack. Through careful analysis, it is captivating to observe Bressionian filmic style through both A Man Escaped and Pickpocket. Repetition occurs frequently throughout both of the films as well, either through Fontaine’s levels of escaping or Michel’s practice and act of pickpocketing. He focuses on these detached shots through long shots as well, in order to display the protagonist’s limitations, more notably in A Man Escaped. Bresson uses angles in a fascinating way as well, by leveling them at the point of action, making the shots emotionless, sharply focusing on external factors. Close-ups are also used to emphasize objects of importance, such as clothing Fontaine uses in his escape, or Michel’s collection of watches. Fontaine strategically using a spoon on his prison cell door to obtain freedom, or Michel’s cunning acts of stealing wrist watches off of people throughout Paris. The use of close-ups to the protagonist’s hands is frequent in Bressonian style, and for A Man Escaped and Pickpocket, close-ups are used to assert an action that is taking place i.e. The director would use close-ups to emphasize parts of the body more prevalent were the hands and face of the protagonist. Throughout A Man Escaped and Pickpocket, Bresson’s camera movement coincides with the actor’s movement and/or force. Bresson purposefully shifted away from traditional European and Hollywood cinematic techniques, in order to master the art of film making through an unconventional approach to cinema. At times in this thief’s journal – the extended train station robbery sequence, for instance – his visual discourse touches the sublime.Robert Bresson’s films A Man Escaped (1956) and Pickpocket (1959) both share similarities in their filmic style. Bresson’s goals were deep to sweep away the dross of expectation and viewing conventions by means of a purified cinema. Bresson’s actors – ‘models’ – are non-professional and strictly coached but there is no mistaking the orgasmic pleasure that sweeps the face of indolent, penurious student Michel (Martin LaSalle) as he succeeds on his first ‘dip’ at Longchamps racecourse nor his despair as his world begins to fall apart. Even for those used to Kiarostami’s minimalism, this is a further step into essentialism. ![]() Newcomers to Bresson’s films may be surprised to hear that this is perhaps his most optimistic, open, sensuous and sexually charged film, given its dark Dostoyevskian subject matter. Released in the same year as Godard’s ‘Breathless’ (1959) and filmed on the same sun-dappled Parisian streets, Bresson’s mid-career tale of the mysterious operation of grace and redemption on the fate of a young thief is considered by many to be his masterpiece. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |