Barely coming in at 75 minutes, this movie is just so watchable! As Hitchcock said, the length of a film should be proportionate to the movie goers bladder! Well said and a film well done. If you've ever been to France (Paris in particular) you know that pickpockets are a problem and it is all too easy to become a victim. With some truly brilliant camera work and acting, we are shown by the main, Michel, the flip side of pick pocketing! I saw another review complaining about lack of a plot and I agree, it is frustrating! Just when you think he might give it up and go for love, he doesn't. All of the elements of the film NOT about pick pocketing are very wishy washy, but seriously...the title is pick pocketing...what did you expect?! The guy is happiest when he pick pockets and I am happiest when I watch him pick pocket! Truly a wonderful film.

THe story is about a very emotionally constricted man who has a compulsion to steal. On top of that, he's obviously read some Nietsche and feels entitled to steal, as he is superior to those around him and every time he steals, he proves this to himself.I know there are many folks out there that LOVE the French New Wave. As for me, I love some and I hate some--and I hated "Pickpocket". Now I understand that the director deliberately made this film as non-elegantly and non-Hollywood as possible. And, I know that the minimalist acting style was part of the mystique of many New Wave films. My problem is that I just didn't care, as the main character was about as interesting as a block of moldy cheese. No...moldy cheese is infinitely more interesting! It's is really a shame, as there WAS the basis of an interesting story here but the film was so muted and low=tempo that I literally found myself falling asleep as I watched it. It's a shame, as the scenes where the leading man shows off his skills at picking pockets are wonderful. Overall, you could find many things more interesting than watching this film...many.

This early Bresson piece is an interesting but ultimately flawed work.Clearly influenced by Italian neo-realism, non-professional actors are used throughout the film. Unlike in neo-realist works though, where a deep sympathy for the protoganist is established, there is a cold, distancing effect in this film that means one feels little sympathy. This disengagement also means the viewer quickly loses interest in the proceedings. Telling the story via the device of the character writing his memoirs from behind bars should have generated interest but he is so distant it is obvious the character does not really understand himself, let alone anyone else.The main character however, does have the potential to be a fascinating figure. Drawn to the life of a pickpocket through feelings of superiority and of being above society's laws, he descends into paranoia as the law pursues him. He plays a cat and mouse game with the authorities, though who will win is never in doubt to the observer.Likewise, the scenes of pick-pocketing lack suspense or interest. Indeed, his existence seems all the more mundane for them; he is no more interesting than a mere accountant going about his work. Whilst this may be potentially subversive for those expecting a traditional crime/heist suspense film (indeed the audience is warned from the outset not to expect one), they do not offer any more insight into the character. In addition to this, his bouts of reclusivity also do nothing to offer invoke sympathy. This is a pity as recluses are rarely depicted on film and when they do so, it is never in a positive light nor is little insight given into why they may reject or fear the callous world around them. As in this case, they are merely shown to be paranoid.Aside from this descent into paranoia, there is little character development until the film's end. The protagonist remains arrogant and aloof and his attempts at reforming are half-hearted until his final redemption after his period of reflection behind bars. The character of the law enforcer has little voice and is really just a personification of the forces of justice. Likewise, the females invoke sympathy but are of little interest in their own right.Bresson's spartan style is not yet mature here and the religious themes for which he would become renowned do not show through. Ultimately, though, this film is a wasted opportunity. With a tightened screenplay and better evocation of the characters' emotions it could have been one of Bresson's masterpieces.

In Paris, the lonely and anguished pickpocket Michel (Martin La Salle) lives in a dirty little room and spends his time stealing wallets and purses in public spaces. His only friends are Jacques (Pierre Leymarie), who tries to help him to find a job, and his mother's next door neighbor Jeanne (Marika Green). After the death of his mother, Michel teams-up with two smalltime thieves despite the permanent surveillance of the local police inspector (Jean Pélégri). Later he travels overseas to get rid of the observation of the police, but two years later he returns to Paris and finds Jeanne alone, with her son with Jacques after a brief love affair. Michel decides to help her and find an honest job; but in a horse race, he is tempted by his addiction with tragic consequences.This is the first time that I have watched"Pickpocket" and I expected much more from this famous movie. The development of the lead character Michel is confused and it is clear that he is a troubled, lonely and anguished unemployed young man, but it is never clear the motives why he is addicted in stealing since he shows no ambition or dream or love. The beauty of Marika Green is impressive and she seems to love Michel since the very beginning but again her feelings are never clear. Indeed the actors and actress express no sentiments and the plot is very weird. My vote is seven.Title (Brazil): "Pickpocket"