I am sure that what is frequently described as coldness and austerity in Bresson's work is merely the extraordinary precision of his compositions combined with his refusal to play the childish make-believe games of conventional cinema. There is certainly a genuinely austere aspect to Bresson's style, but it has nothing to do with morals or a lack of sensual sensitivity. This masterpiece, Pickpocket, which Louis Malle correctly described as history-making, is actually almost frightening in its sensuality. If this film is watched carefully it is almost embarrassing in how intimately the camera brings the viewer into contact with the bodies of strangers. And precisely what is disconcerting about it is that this contact is completely lacking in feeling, sensitivity, or respect. The embarrassment that the viewer feels is that which the pickpocket, Michel, should feel, but doesn't. And it reveals why Bresson has always steered clear of eroticism and pornography in his work: because what gives sensuality its deeper meaning and value is the mysterious spiritual connecting quality that is possessed by Jeanne, the young woman who cares for Michel's invalid mother and whom Michel, in his blindness, calls "very naive". The absence of this quality in sensuality gives a false sense of power and security and it reduces sensuality to being merely a form of invasion and theft, just as if one were a pickpocket! Michel, "in his weakness," goes to the bottom of this illusion and finds himself in real jail. Then he understands that what he was really seeking, in his darkness which he mistook for light, in his countless, highly-skilled violations of other people, was freely offered to him by Jeanne. But what is really amazing here is that Bresson gives this story of redemption not in a novel or a play, nor in a filmed imitation of these things, but in a precise sequence of sound accented images that define true cinematic art and reveal again why Bresson is The Master.