I'm mostly suggesting that the actualities of the portrayal are a bit naïve.
In strictly acting terms I don't know what you're suggesting by actualities
of a portrayal. There are as many ways to portray a human being as there are grains of sand on a seashore. And that number isn't necessarily decreased significantly because the subject is what some would consider "a criminal". Unless a filmmaker (or actor) is considering a historical personage why would he or she even give such a consideration? Even in a narrative based on an actual life what would be the benefit of recreating the reality of which no one knows but the person who lived it! At most it's speculation. I'm not sure if any particular actuality is what an actor is asked to render.
And I have read and heard these criticisms of the film before--they're not entirely new.
??? Why read? If you think what you're reading is entirely new
it only means you haven't read much. Yes?
The technique in Pickpocket is far more interesting to me than the narrative itself, which, as I've expended a lot of keyboard tapping trying to explain, reads clumsily naïve to me in its rendering of its milieu.
Ah, but to me the narrative and the technique are indistinguishable. I don't see how in either film the exposition can be separated from the execution - or the way in which both films proceed.
I find later works like Balthazar and A Gentle Woman far more satisfying examples of Bresson's style as it matured, as he took these newly developed techniques and integrated them more successfully (for me) with his formidable (in the previous films) narrative skills.
Topic for the Bresson thread, granted, but yeah; I find his later stuff incredibly difficult to watch. By time he got to The Devil Probably
his style was not only unmistakable but downright suffocating! You have to go into his later films with NO expectations - be completely silent - in order to discover something. He's a demanding filmmaker, no doubt.
Olmi likes the immediate surprise where Bresson innundates you with ritual- like behavior from his models until a breakthrough occurs. In that light Domenico's POV, as you point out, is absolutely crucial to the narrative in Il Posto
. In Pickpocket
the voiced overdub, which functions as Michel's POV, is clinical to the point of being a sidebar or header, framing the sequences, but is otherwise almost dispensable in terms of the narrative (an arguable point). Yet the inner experiences of both lead characters are effectively conveyed. I find it a marvel how such disperate approaches can be equally as poignant.