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One of the early images in Robert Bresson's “Pickpocket” (1959)shows the unfocused eyes of a man obsessed by excitement and fear. The man's name is Michel. He lives in Paris in a small room under the eaves, a garret almost filled by his cot and his books. He is about to commit a crime. He wants to steal another man's wallet, and he wants his face to appear blank, casual.Perhaps it would, to a casual observer. But we know him and what he is about todo, and in his eyes we see the trance like ecstasy of a man who is surrendering to his compulsion.