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The last scene of the film shows Edouard being back at the dive, continuing to work there under the false name of Charlie, as he continues to play piano for the townspeople.

They continue their way outside and decide to stop fighting, but Plyne can't show his face inside unless it looks like he won so he starts to strangle Edouard and says, "I don't love Lena anymore. She used words unworthy of her. If she had a soul, she wouldn't have been so vulgar. She's a slut. A woman is pure, delicate, fragile. Woman is supreme. Woman is magic. Charlie boy, sorry for getting familiar...but Charlie boy, you're about to die."

Moving story of a young boy who, left without attention, delves into a life of petty crime.

A distinctively postwar Parisian creation, coldblooded and sentimental and wounded and whimsical, all at the same time.

Shoot the Piano Player (French: Tirez sur le pianiste; UK title: Shoot the Pianist) is a 1960 French crime drama film directed by François Truffaut and starring Charles Aznavour as the titular pianist. It is based on the novel Down There by David Goodis.

Truffaut leaves too much that is not clear as he concentrates on individual scenes.

It should be noted that in Britain, the joke about the piano player does not derive from this film but from the alleged remark of Oscar Wilde on his American tour, while in the wild west: "Don't shoot the pianist, he is doing his best" (see http://www.todayinliterature.com/stories.asp?Event_Date=12/24/1881). This is also the source of the book and film title.

Pierre Lachenay is a well-known publisher and lecturer, married with Franca and father of Sabine, around 10. He meets an air hostess, Nicole. They start a love affair, which Pierre is hiding, but he cannot stand staying away from her.

Antoine Doinel is now more than thirty. He divorces from Christine. He is a proofreader, and is in love with Sabine, a record seller. Colette, his teenager love, is now a lawyer. She buys ... See full summary »

A landmark film that took the world three decades to accept

Claude Massoulier is murdered while hunting at the same place than Julien Vercel, an estate agent that knew him and whose fingerprints are found on Massoulier's car. As the police discovers... See full summary »

Made with enthusiasm and audacity, it still seems fresh.

The auteurs of this era owe their popularity to the support they received with their youthful audience. Most of these directors were born in the 1930s and grew up in Paris, relating to how their viewers might be experiencing life. They were considered the first film generation to have a "film education", knowledge of and references to film history. With high concentration in fashion, urban professional life, and all-night parties, the life of France's youth was being exquisitely captured.

The film allowed Truffaut to express his love of American hardboiled fiction and classic Hollywood cinema in all its romantic glory.

“Tragic comedy where thinking things over too much leads a sad sack musician into emotional turmoil, with fatal consequences for the women in his life.”

A superb combination of genre movie and Truffaut's special brand of perfectly observed, humanist detail.

While Fido is in the car with Momo and Ernest and Momo says that Fido sounds like a dog's name. Momo than says, "Here's a tip: Never leave the door open. My pop used to say, 'If someone knocks, assume it's a murderer. If it's just a robber, you'll be happy."

Among the films referenced in Shoot the Piano Player are Hollywood B movies from the 1940s, the techniques of using an iris from silent films, Charlie being named after Charlie Chaplin and having four brothers (and one named Chico) being a reference to the Marx Brothers, and the film's structure and flashbacks being similar to the structure of Citizen Kane.

While settling into his apartment and realizing his little brother Fedo is already asleep Charlie gets a knock at the door from a prostitute named Clarisse, who is also his neighbor from across the hall. He welcomes her in to entertain him for the night. She undresses and gets in his bed. Charlie says, "This is how it's done in the movies," as he grabs her and the two have sex under the blankets.

When Edouard hears about Fido's kidnapping he says that he should have seen it coming. Momo and Ernest's car dies and so they push it to the nearest gas station and try getting it to start-up again, while Edouard and Lena drive unnoticeably past them. Edouard asks Lena to turn on the radio and they make their way across the state and into the snowy landscapes, while Edouard drinks as much as he can from a bottle of alcohol that Lena has brought for him to numb his pains.

Opening shot is a close-up of piano keys playing. A man named Chico is running from a vehicle that is trying to run him down. He trips and falls and a pedestrian sees him and helps him up. Chico thanks the stranger informing him that he must have run into the street light like an idiot. The stranger tells  him his wife of 11 years is waiting for him and invites the man to walk with him as the stranger talks about how he met his wife.

When Francois Truffaut’s first feature The 400 Blows made its debut in 1959, critics the world over hailed its low-key semidocumentary style in telling its tale of a troubled, melancholy youth. . . . Read more »

Plyne says, "You don't really believe that. I can see you've been through the wringer too, my boy." When Plyne says that Charlie is afraid, Charlie thinks about that word 'afraid' for a moment, realizing it is probably true. When Charlie leaves for the night Lena is outside waiting for him and Lena asks him to walk her home while a jealous Plyne watches the both of them from inside the dive. Charlie wants to hold Lena's hand and put his arm around but he can't find the strength to do it.

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Often overlooked, Truffaut's wonderful second film stars Charles Aznavour, master of the chanson, in his only collaboration with the director.

After that comedic discussion on the topic of females the car is passing an officer and Lena quickly puts her foot on the drivers pedal to speed up the vehicle, so the cop notices them speeding. The cop orders them to pull over which gives Lena and Charlie a chance to leave the car  and escape the kidnappers without them being able to threaten or shoot them with the office there. While walking away and Ernest is getting a speeding ticket Ernest yells out to them, "See you soon."

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Shoot The Piano Player (1962)

The movement has its roots in rebellion against the reliance on past forms (often adapted from traditional novelistic structures), criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. They were especially against the French "cinema of quality", the type of high-minded, literary period films held in esteem at French film festivals, often regarded as 'untouchable' by criticism.

After being discharged from the army, Antoine Doinel centers a screwball comedy where he applies for different jobs and tries to make sense of his relationships with women.

Recently, I was talking with a group of friends, and somehow the subject turned to great directors we found overrated. At a certain point, someone mentioned François Truffaut. I just don’t get it, my colleague said, referring to the tonnage of praise heaped on Truffaut throughout his short life and beyond.

Charlie Kohler is a piano player in a bar. The waitress Lena is in love with him. One of Charlie's brother, Chico, a crook, takes refuge in the bar because he is chased by two gangsters, Momo and Ernest. We will discover that Charlie's real name is Edouard Saroyan, once a virtuose who gives up after his wife's suicide. Charlie now has to deal wih Chico, Ernest, Momo, Fido (his youngest brother who lives with him), and Lena... Written by Yepok

Universally considered a masterpiece of the film noir genre.

An affectionate tribute to the low-budget crime movies that Truffaut so loved, and it's one of my favorite Truffaut films.

Truffaut significantly changes Charlie's personality in Tirez sur le Pianiste. Originally, Goodis' Edward Webster Lynn (whom Truffaut adapts as Charlie) is “pictured as a relatively strong, self-confident guy who has chosen his solitude [whereas] Truffaut’s Charlie Kohler has found his isolation inevitably; he was always shy, withdrawn, reclusive.”[3]

Some time after "Baisers Volés", Antoine Doinel (Jean-Pierre Léaud) and Christine Darbon (Claude Jade) are married and Antoine works dying flowers, and Christine is pregnant and gives ... See full summary »

A committed film director struggles to complete his movie while coping with a myriad of crises, personal and professional, among the cast and crew.

Shoot the Piano Player was first shown at the London Film Festival on October 21, 1960.[28] It later premiered in Paris on November 22 and in the U.K. on December 8.[15] It did not premier in the U.S. until July 1962.[28]

Edouard/Charlie flashes back to a time when he was a struggling pianist. It shows him frequently visit his fiancée Therese at work and they play a game of waitress and customer. He eventually marries her and the two are  happily married for several years, but Edouard is struggling finding work as a pianist. During another trip to his wifes restaurant Edouard meets Lars Schmeel an impresario who likes Edouard's work and invites him to come to his apartment the next day.

The French New Wave featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 film Week End). Also, these movies featured existential themes, such as stressing the individual and the acceptance of the absurdity of human existence. Filled with irony and sarcasm, the films also tend to reference other films.