Robert Bresson is to French film what Johannes Chrysostomus Wolfgangus Theophilus Mozart is to Austrian music, and Fyodor Mikhailovich Dostoevsky is to Russian literature.
"Pickpocket" (Pickpocket, 1959), filmed by Robert Bresson more than 40 years ago, has been regarded by film critics as the "most contemporary film". His own death at the end of 1999 once froze the hearts of filmmakers all over the world. People were sad that "the hand holding the movie was released for a hundred years." In 1959, he was " Cine " note " is judged to be "a watershed in film". An obvious reason is that on the streets of Paris in 1959, Jean-Luc Godard was filming " A bout de souffle " (bout de souffle), and at the same time, Bresson was in Photo "Stealing Hands". Imagine the following scene is quite moving: Missaru (the protagonist of "A bout de souffle") runs across a street corner in Paris, and meets Michel (the protagonist of "Stealing Hands"); Jean-Luc Godard's figure dangles by Bresson’s negatives; a background of "Stealing Hands" appeared in "A bout de souffle"; Bresson’s "Camera" activated Jean-Luc Godard’s camera.
It is recognized that Bresson is the number one intellectual in the film industry, not only because he likes to adapt or cite masterpieces, but also because of his philosophical movielanguage . His ascetic but seductive images make his style quite introspective and profound. Contains endless poetry. Therefore, his film completely avoided Luis Buñuel 's ridicule and Ernst Ingmar Bergman 's bitterness. He neither commented nor expressed sympathy. The faults of mortals did not disgust him. What he explored was the redemption in the lost path. Some film critics believe that all Bresson's films have only two protagonists: a pensive man and his outside world (such as a prison). "Stealing Hands" is also such a film.
The whole film is unfolded in the form of Michelle's diary. The middle and long shots minimize the movement of the camera, so the picture has a contemplative and cold style from beginning to end. Michel's face has always been very calm, even though his fingers flipped the crime or crime art again and again, his expression has always remained the same. Therefore, Bresson’s films are regarded by some as "unsightly" because they "have no style, no movement, nothing but a fixed face." In this regard, Bresson smiled and asked his actors "not to express any emotions" as always. For this reason, he can take a shot fifty times continuously until the actors can no longer express any emotions. "Stealing Hands" has therefore become the "most frugal film" in film history.
