Shoot the Piano Player (The Criterion Collection)
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Top Customer Reviews
Like many of my favourite films (and it is my favourite), 'Shoot' is a reworking of 'Vertigo', the story of a man who lets two women die because of his own emotional cowardice, leaving him in emotional shellshock. Aznavour's performance - and this isn't sufficiently realised - is one of the towering achievements of cinema, a complete, physical embodiment of diffidence, guilt, solitude and emotional paralysis, a man more lethal in his dithering passivity than murderous gangsters are in their violence.
Like all the best art, 'Shoot' is a tragicomedy, moving bewilderingly between the two moods, creating a devastating emotional texture - the hilarious scene where Charlie debates the best way to hold Lena only to tragically realise she's gone, or the frightening abduction scene that sees captor and juvenile captive argue comically over scarves.
As the title suggests, music is this film's soul, the only thing that can transcend genre for Charlie, the only way an emotionally dead man can feel.
Truffaut's restlessly inventive mise-en-scene, switching between studied artifice and breathless open air filming, is full of Hitchcock, Godard, Ophuls, Ray, Renoir - all the best of cinema; but in truth, there is no other film like it.
Truffaut opens with the inside of a piano clinking away on a joyful tune. The massive number of keystrokes on the piano ultimately delivers the upbeat melody from the inside, which serves like a reminder to the audience about the complexity of a melody that rests in a large number of basic sounds. It could also analogously direct the viewer in to the concept of how basic elements in a series could present a rather complex idea, which the film also does in multiple levels. The inside of the piano could also symbolize the inside of a person, as people can talk about how they feel inside, and on occasion, the feelings emerge through actions. In either case, the complete truth might never appear, as a person has the power to decide what they say, or show through their actions.Read more ›
Truffaut said this movie was "a grab bag." And it does seem to have everything in it but the kitchen sink: it's rooted in "B" Hollywood gangster movies, is a wonderful mixture of comedy and tragedy, and has almost no storyline. In fact, Truffaut throws the storyline to the wind: it's a picture of touches, of quick, fleeting moments, rather than narrative continuity. Its juxtapositions are wonderful: fame and obsurity, love and hate, gangsters with a sense of humor, lots of action and the desire to go and do nothing. It's a great movie - funny and sad - and one filled with many memorable moments. Definitely worth a watch.
Most Recent Customer Reviews
This is one of the most influential movies of all time, but it's also still a joy to watch. The much earlier "Birth of a Nation," which was greatly influential but the... Read morePublished 11 months ago by Richard Boardman
one of the best Truffaut movies. All the actors are great. Charles Aznavour in a non singing role is fantastic. The music and songs are great. I guess you can tell I like this. Read morePublished 14 months ago by Bill Mosier
For anyone who cares about French New Wave cinema, this is a must-own. Francois Truffaut took a David Goodis novel about a man's isolation and turned it into a unique and quirky... Read morePublished 14 months ago by Eric O. Allstrom
An all-time classic, book and movie. A great example of the French New Wave and Trufaut's talent. If you love movies, don't miss it.Published on November 29, 2013 by David Chinoy
This transfer is afflicted with horrendous flutter, even worse than Antonioni's L'Eclisse. Don't even think of buying it. Get it from Netflix and send it back. Read morePublished on August 28, 2013 by Amazon Customer
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