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Robert Bresson on Pickpocket (1959)

This 1959 French television interview with Robert Bresson on his then-just-released masterpiece  Pickpocket is interesting for a number of reasons.

Compare this to his interview on L’Argent, made in 1983, roughly a quarter of a century later. Here, Bresson is relaxed, basking in the glow of admiration his film has justifiably received, but also in the fact that the new critics of the period at the influential journal Cahiers du Cinéma have singled out Bresson as one of the few “old school” directors worthy of continued critical attention, along with Jean Renoir, Jean Cocteau, Jean-Pierre Melville and a few others.

Bresson here is at the top of his game, and he knows it; the questions are cold, hard, almost prosecutorial, but Bresson is more than up to the task of responding. He is beyond attacks now, consecrated by the New Wave as one of the few filmmakers that matter. The interviewers take his work seriously, and their roles as critics seriously, in sharp contrast to the “happy talk” interviews that predominate today, when someone comes on television to “plug” their latest film.

Bresson here has nothing to prove, and he knows that no one will contradict him; his reputation and his work speak for themselves, but more — the surrounding culture also respects his work, and he is entirely in tune with the cinema of his era. By 1983, cinema has changed so much that it’s mostly escapist genre fare, something that Bresson deplores; in 1984, François Truffaut, the leader of the Cahiers critics, and later a brilliant filmmaker in his own right, will die, and the world of cinema he championed will begin to expire with him.

But for now, all is in order, and the right priorities are being addressed; listen to what Bresson has to say about film, his work, and his guiding precepts.

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About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

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