Tuesday, December 16, 2008

Shoot the Piano Player

This film really impressed me, as it both embraces strong comedic and dramatic elements. Truffaut, always interested in form, seems at the top of his game in terms of style in Shoot the Piano Player. Sudden jump cuts, oddly sequenced shots and plenty of narration through voice-over. In many ways, this film embraces many qualities that compose high literature, that is to say how the form, plot, and different genre elements work together to build a highly reflective and complex work.

Throughout the film, there is a conflict between chance and inevitability. The criminal, film noir reminiscent, elements of the movie present a strong case towards the existence of fate. Eduard cannot escape a criminal lifestyle, no matter how reformed he appears. Happiness is always fading, but its small presences make life bearable, just as comedy and drama work in the film. Sometimes chance creates happiness, and other times the inevitably of sorrow is clear and direct.

The crafting power of the auteur is present throughout the movie which successfully gives the characters both likability and depth. One great example of this is the scene in the hall way, when Eduard is auditioning with a master pianist. He waits for a female violinist to exit, and afterward the camera focuses on her emotionless face. As the piano starts playing, the audience never sees the actual audition, but rather sees the reaction of the violinist. Truffaut has the ability to make a single appearance character with no dialogue seem real, and sympathetic. It is an incredible combination of music, acting, and the way the shot is set up in the hallway.

Aside from formal and thematic elements, the plot and music of the movie is enjoyable as well. Truffaut seems to have created the complete package in this film, tying together many interesting and classical elements. The actors all do a remarkable job as well, portraying realistic and sympathetic characters. This is definitely one of my favorite New Wave films.

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