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Over the course of 81 of the briskest minutes in cinema, François Truffaut's Shoot The Piano Player contains flashbacks, jump-cuts, weird superimpositions, tender love scenes, broad slapstick, a snowbound shootout with feckless gangsters, a sing-along in a Parisian piano bar, and countless nods to American noirs and genre films. Truffaut himself claimed that his exhilarating second feature could be heard as a love story and viewed as a gangster noir, though it's a thrill to witness these aural and visual elements smashed together. The impulse to break down and reinvent cinema make Piano Player a quintessential French New Wave film, but unlike the work of his contemporary Jean-Luc Godard, Truffaut isn't interested in deconstructing film so much as celebrating its possibilities. Though melancholy at its core, Piano Player has the spontaneity of a lark, at once more radical and more playful than any other film in Truffaut's career, and brimming with inspired touches that still seem surprising after a dozen viewings, much less one.