It's worth watching if you haven't come across it yet.
LaSalle, who played the film’s protagonist, ended up living in Mexico and still managed to get acting work. Unsurprisingly he was pretty hands on in getting their performances the way he wanted. Filmed separately the three recall working on the film and how Bresson worked with his actors. In it the filmmaker tracks down three of the actors (“models”) from Pickpocket, Pierre Leymarie, Marika Green, and Martin LaSalle. It’s again a great appreciation, but I was a little surprised that he doesn’t bring up The Card Counter considering it shares a number of similar themes and visuals.īFI also includes the 52-minute 2003 documentary Models of “Pickpocket,” directed by Babette Mangolte, which also appears on Criterion’s release. Schrader has talked about the film extensively through the years (he even provided an interview that appeared on all of Criterion’s releases) and how it played a big part in his becoming a filmmaker, but he updates it here to talk about how Bresson and his “transcendental style” directly influenced First Reformed. All around the image looks great, and it does manage to look a bit better than Criterion’s.Ĭriterion pulled together great material for their edition that included archival footage of “slight-of-hand artist” Kasagi performing, and though BFI’s edition is missing material similar to that I think they’ve still managed to pull together an decent collection of features, including an all-new 11-minute interview with director Paul Schrader. The restoration work still looks extraordinary, very fine scratches being all that really remains, and you really have to be looking for them to see them. Object detail comes out better and there’s a wonderful film texture to the image. The encode is also cleaner in comparison to Criterion’s, the fine grain looking a little sharper. Shadows come out looking richer thanks to the deeper blacks while range in the grayscale ends up feeling a little wider. This took me aback at first but I have to say it ends up being more of an appropriate look for the film.
For starters the image is notably darker here with heavier shadows. This title is a UK release and has been locked to region B.īFI’s presentation comes from the same 2K restoration-sourced from the 35mm original negative-that Criterion used for their 2014 edition, yet it somehow ends up looking a bit different. BFI presents Robert Bresson’s Pickpocket on Blu-ray, delivering the film on a dual-layer disc in its original aspect ratio of 1.37:1 and encoded at 1080p/24hz high-definition.
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