Directed by François Truffaut.
Starring Charles Aznavour and Marie Dubois.
In a Nutshell: A mild-mannered pianist is drawn into his brother’s life of crime.
Another French noir film, this one carrying itself far differently than its contemporaries. It doesn’t deal with hardened, murderous criminals, sultry dames, long shadows along dark alleys and the swagger of its morally ambiguous hero. No, Shoot the Piano Player is far lighter than the other films, but just as good, thanks to the piano player, Charlie Kohler (Charles Aznavour). Charlie is not the sort of dangerous personality that most noir can be founded on. He’s timid, thoughtful, and above all, wants nothing to do with his criminal family’s shenanigans. The film is given with a largely piano score (consistent with Charlie’s job as a once famous pianist) that sets a mood more romantic than mysterious. This failed to connect with audiences upon its release with hallmarks that at the time were rule breaking for a crime movie. But those elements (overly long music numbers, Charlie’s voiceovers where he expresses his agitation about the fairer sex, criminals more idealistic than thuggish in their musings, warm-hearted prostitutes) add a casual enjoyment to what could have been a hard-boiled tragedy and would have been lost in the landscape of dark noir dramas.
Another French noir film, this one carrying itself far differently than its contemporaries. It doesn’t deal with hardened, murderous criminals, sultry dames, long shadows along dark alleys and the swagger of its morally ambiguous hero. No, Shoot the Piano Player is far lighter than the other films, but just as good, thanks to the piano player, Charlie Kohler (Charles Aznavour). Charlie is not the sort of dangerous personality that most noir can be founded on. He’s timid, thoughtful, and above all, wants nothing to do with his criminal family’s shenanigans. The film is given with a largely piano score (consistent with Charlie’s job as a once famous pianist) that sets a mood more romantic than mysterious. This failed to connect with audiences upon its release with hallmarks that at the time were rule breaking for a crime movie. But those elements (overly long music numbers, Charlie’s voiceovers where he expresses his agitation about the fairer sex, criminals more idealistic than thuggish in their musings, warm-hearted prostitutes) add a casual enjoyment to what could have been a hard-boiled tragedy and would have been lost in the landscape of dark noir dramas.
It is a bare story, with a lot of time for the character and plot to meander around. In flashback, we see Charlie’s previous life as a more infamous pianist (under his real name Edouard Saroyan) that led him into trouble. Now, he is married to the barmaid Lena (Marie DuBois) and the two have long conversations about love and trying to restart Charlie’s career in music again. Ever since his first wife’s suicide, Charlie has been content to live in his sealed off world with his kid brother and prostitute neighbor, playing for restless crowds at late-night pubs. But while Lena gives him the confidence to break out of his shell, it is that newfound daring that leads him into trouble with his older brother’s criminal activity.
In my final thoughts, while I was not expecting such a playful movie, this movie is a great precursor to the tongue-in-cheek crime movies of today. Aznavour is touching as a sensitive romantic lost in his own thoughts while this odd world pops around him. It may be joshing you around even when somebody is being held at gunpoint or kidnapped, but it’s not without substance. It is the love François Truffant has for Charlie and his semi-seedy, uncluttered life that really makes this film shine.
No comments:
Post a Comment