There's a lot of irony here whether intentional or not. For instance the protagonist, Michel, makes a living as a dip yet he NEVER seems to lock the door of his apartment which is in what is more or less a tenement. Not only does he not lock the door but nine out of ten times he leaves it ajar to boot. By now I've seen enough Bresson to recognize the trademarks; the 'players', invariably amateurs who act as if on valium seldom straying from the middle of the spectrum, no hysterics whether comedy or tragedy is the springboard; the camera dwelling on a scene long after the actors have left it, the gaps in chronology, etc. If you like and/or admire Bresson then this won't matter, in fact it may even enhance the proceedings, but if you're indifferent and/or actively dislike him then these schticks will only add fuel to your critical fire. I saw this within 24 hours of watching The Umbrellas Of Cherbourg which made it easier to notice that in both films the guardian figure - respectively aunt and mother - of the protagonist has a companion in the shape of a young girl who is, it seems, there only to supply an eventual love-interest for the protagonist, in this case she is played by Marika Green whose own niece, Eva, is now acting in French films herself. This is certainly worth seeing and there's an outside chance it could grow on you.
Review of Pickpocket
