March 12, 2003

The existential question of whether man is a passive player in the drama of his life or is the active hero of its unfolding is at the heart of François Truffaut’s “Shoot the Piano Player.” In this film, Charles Aznavour plays a man who cannot escape his past or his family -- no matter how hard he tries to reinvent himself. Through the lead character in this film, Truffaut shows that a man trying to gain control of his life at the last minute may be a bit too late.

The passivity of Aznavour’s character is best demonstrated by the technique Truffaut uses in alienating the character. When Aznavour’s character, Charlie Kohler, is heard thinking to himself, instead of Truffaut allowing us to hear Aznavour’s voice externalizing Kohler’s thoughts, we hear a voice other than Aznavour’s. This jarring technique clearly demonstrates that the character Aznavour plays is passive about his life -- so passive that he is a different person inside than he is outside.

The central conflict in “Shoot the Piano Player” is created when a former high-profile classical pianist learns that his success may be attributed to his wife’s use of her body to land him representation by a talent agent. Instead of Aznavour’s character confronting this crucial moment in his marriage, he walks away. In turn, his wife kills himself.

Aznavour then tries to reinvent himself and separate from his identity, family and his past. However, he is unsuccessful. His brothers find him, his past haunts him and he repeats his fated storyline by killing the man who runs a seedy piano bar. Again, it is because of a second death that Aznavour’s character is forced to attempt another run from reality.

Through his indifference about the events of his life, Charlie Kohler, also known as Edouard Saroyan, fails to be an active participant in his life. Kohler-Saroyan easily falls victim of the events that unfold around him; and when he tries to regain control in the most critical moments, he fails. Seconds before his wife’s fall to her death, Saroyan fails to save her from her fate by walking away. Similarly, moments before killing the piano bar owner, Kohler fails to avoid murder by going along with the bar owner’s concern that neighbors watching their fight may misinterpret their fight.

“Shoot the Piano Player” clearly shows the viewer how a man or men can fail at their shot in life. Saroyan walks away from his career because he fails to make a decision and save his wife, and when he does make a decision to save his own life in a mock fight, he makes the wrong decision -- again becoming a victim instead of a victor.