Movies Watched in August 2016 Part II

18 films is a fairly low turnout for an entire month, but I did complete an entire season of The Twilight Zone and started several episodes of Star Trek: The Next Generation in August. We’ve got a long Labor Day weekend coming up, so I’m sure I’ll stock up on at least a few movies. The first half of August you can find here.

On to the second half…

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What’s On Your List?

The next Barnes & Noble/Criterion 50% off sale is coming soon… Since I live near a Costco which usually has several Criterion titles on hand, and since I just bought some titles at the last Barnes & Noble sale, I probably won’t get much this time around.

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In fact, the only title that’s a must- buy right now is The In-Laws, I movie I’ve loved ever since I saw it on HBO shortly after its initial release.

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Of course I could be persuaded to pick up The Palm Beach Story and Paris Belongs to Us, two very different films, but films I know I’ll want to revisit sooner rather than later.

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I know I should probably blind-buy A Brighter Summer Day, but I’d really like to see it first.

So, what are you planning on getting?

Blindspot Series 2016: Pickpocket (1959)

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As I mentioned last month, I hoped to start my own Blindspot Series in 2016: 12 classic films I’ve wanted to see but haven’t. I’m starting my series today with Pickpocket.

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Pickpocket (1959)
Directed by Robert Bresson
Produced by Agnès Delahaie
Screenplay by Robert Bresson
Cinematography by Léonce-Henri Burel
Edited by Raymond Lamy
(black-and-white; 1:16)
Hulu Plus streaming

I wonder what kind of direction Robert Bresson gave his actors. From what I gather, Bresson didn’t use professional actors and while that may have been trying at times, it was probably a stroke of genius. Did he just give them a situation and tell them things like “Behave like you think a pickpocket would behave just before attempting to lift a man’s wallet” or something like that? I have only seen  two of his films: this one and A Man Escaped (1956), which came right before Pickpocket. Both films have an almost documentary feel in places. Part of that is due to the “actors” and part is due to Bresson’s unconventional manner of filmmaking.

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