Europa Europa Film Fest 2025 - Shoot the Piano Player
Images courtesy of Common State.
I want to preface this critique with the understanding that whilst I am of course a film enthusiast, I am not a film historian, and note that the historical importance of French New Wave film has been spoken about at length and in detail by others far more qualified than myself. As such, this will not be a history lesson - instead I want to write about what I felt watching the movie almost without any prior knowledge of its historical importance. This is not to say I don’t understand why the French New Wave was important but more that I want to look at the film, and where it sits now, almost objectively (as far as any critique can be objective).
Shoot the Piano Player, directed and written by Francouis Truffaut, is a film that almost satirises itself and every genre it touches on. This cannot be achieved without Truffaut having a very clear and deep understanding of what visual language can tell us about tone and character. He keeps the story constantly on its toes, with not only quick cuts but tonal variations that can happen within a single scene; one moment there is a serious betrayal the next a slapstick comedy reminiscent of The Three Stooges. This constant shift felt jarring but not out of place, instead mirroring the contradictory world of the main character Édouard Saroyan (played by Charles Aznavour). Coming from a house of criminal brothers, Édouard is pulled away to become a pianist, but after soon reaching fame, tragically loses his wife and consequently becomes a recluse, assuming the name Charlie. Édouard/Charlie is soon caught out in his lie and is quickly tied up in his brother's criminal affairs before the whole thing ends in yet another tragedy. The tale feels Hollywood-esque, and is deliberately so, but with the French twist of never being entirely serious.
It is important to mention the role of the women in this film as they are imperative to understanding the satirical world in which Édouard resides. There are three important women in Édouard’s life: his wife, the sex-worker he’s occasionally with (who is also his younger brother's nanny-like figure), and his newest lover. Each are stereotypes within Hollywood films and each feel deliberately pathetic in their almost undying love and respect for him. This characterisation builds an almost heroic sensibility around him and further satirises the classic Hollywood.
Visually this film feels like a masterclass of instinctive storytelling. Sometimes the camera is almost passive as you watch Édouard contemplate or struggle with an inner demon whilst other times it's running alongside his panic or building a beautiful montage of locations. Truffaut famously had a small budget for this film but it was seemingly barely a hindrance, the spaces feel lived in and slapstick at the same time. It is unsurprising as to why this film has stayed relevant, the odd-ball nature of the story combined with clever directing and great acting gives the film an off-kilter quality that can be endlessly mined for visual symbolism.
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Shoot the Piano Player is screening as part of the 2025 Europa Europa Film Festival, which runs from February 12th to March 12th. For tickets and more info, click here.