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Pierrot le Fou (Pierrot Goes Wild) (Crazy Pete) (1969)

tomatometer

85

Average Rating: 7.9/10
Reviews Counted: 40
Fresh: 34 | Rotten: 6

Colorful, subversive, and overall beguiling, Pierrot le Fou is arguably Jean-Luc Godard's quintessential work.

57

Average Rating: 7.8/10
Critic Reviews: 7
Fresh: 4 | Rotten: 3

Colorful, subversive, and overall beguiling, Pierrot le Fou is arguably Jean-Luc Godard's quintessential work.

audience

88

liked it
Average Rating: 4.1/5
User Ratings: 9,254

My Rating

Movie Info

After abandoning his wife and infant daughter for the new babysitter, a woman he'd loved and lost several years earlier, an errant husband embarks on a haphazard road to tragedy.

Feb 19, 2008

Janus Films

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All Critics (40) | Top Critics (7) | Fresh (34) | Rotten (6) | DVD (10)

The melodramatic sluice-of-life interludes are what ultimately swamp the film's modest blend of whimsy and melancholy.

July 16, 2014 Full Review Source: TIME Magazine
TIME Magazine
Top Critic IconTop Critic

A wild-eyed, everything-in-the-pot cross-processing of artistic, cinematic, political and personal concerns, where the story stutters, splinters and infuriates its way to an explosive finale.

May 22, 2009 Full Review Source: Time Out
Time Out
Top Critic IconTop Critic

So challenging and prolific has been Godard's 53-year career that virtually all of his films are as deserving of revival as Pierrot le Fou.

August 9, 2007 Full Review Source: Los Angeles Times
Los Angeles Times
Top Critic IconTop Critic

Made in 1965, this film, with its ravishing colors and beautiful 'Scope camerawork by Raoul Coutard, still looks as iconoclastic and fresh as it did when it belatedly opened in the U.S.

August 9, 2007 Full Review Source: Chicago Reader
Chicago Reader
Top Critic IconTop Critic

The result is repetitive and precious rather than inventive and fresh.

August 9, 2007 Full Review Source: Variety
Variety
Top Critic IconTop Critic

Unmissable.

February 9, 2006 Full Review Source: Time Out New York
Time Out New York
Top Critic IconTop Critic

Godard abandoned the conventions of narrative cinema and adopted a loose picaresque format around which he could arrange subversive generic tropes, poetic digressions, political ideas and comic-book escapades.

July 16, 2014 Full Review Source: Empire Magazine
Empire Magazine

There's cool and then there's Jean-Paul Belmondo. No one ever made being bored look so exciting, and the effortlessly graceful and impossibly hip actor gave the mid-'60s nouvelle vague a needed macho punch.

July 16, 2014 Full Review Source: Metro Times (Detroit, MI)
Metro Times (Detroit, MI)

Few would deny that Pierrot Le Fou is [Godard's] most innovative, iconoclast, and subversive film to date.

July 16, 2014 Full Review Source: PopMatters
PopMatters

Of the Godardian '60s, this effervescent, self-mocking, effortlessly iconic masterpiece may be the filmmaker's quintessential work.

July 16, 2014 Full Review Source: IFC.com

As with many other Godard films, I didn't like Pierrot le Fou the first time I saw it, but it stuck with me, and months later, I couldn't wait to see it again. Now I believe it's a masterpiece.

August 22, 2012 Full Review Source: Combustible Celluloid
Combustible Celluloid

Pierrot is a self conscious mash up of every movie genre that Godard loves, of every movie he has made, of all the artistic references (music, painting, literature) that have influenced or affected him

July 26, 2011 Full Review Source: Cinemania

An idiosyncratic work by a filmmaker trotting out his obsessions of the moment and committing them to film without much regard for actual meaning.

September 30, 2009 Full Review Source: Mountain Xpress (Asheville, NC)
Mountain Xpress (Asheville, NC)

And then theres the color. As much as anything, "Pierrot" is a film about red and blue, as well as a little bit of yellow and green.

September 26, 2009 Full Review Source: Movie Metropolis
Movie Metropolis

Theirs is, in their own words, 'A story,' 'All mixed up,' and their self-construction mimics that of their true Creator, the ever-experimental auteur Jean-Luc Godard. [Blu-ray]

September 21, 2009 Full Review Source: Groucho Reviews
Groucho Reviews

At its worst, in some of its improvised rambles, it demonstrates the value of a well-thought-out screenplay. At its exhilarating and poignant best, it proves that a film can play all sorts of postmodern games yet still touch its viewers' emotions.

May 28, 2009 Full Review Source: Times [UK]
Times [UK]

This sparkling, anarchic 1965 thriller is vintage Godard.

May 28, 2009 Full Review Source: Observer [UK]
Observer [UK]

An eye-poppingly vivid exercise in genre-busting filmmaking. Here is one of the most persistently intriguing directors of the 1960s at his most watchable and entertaining.

May 22, 2009 Full Review Source: Film4
Film4

Godard opens up his box of tricks and tips it all over the screen in a flurry of improvised, postmodernism that takes scattergun shots at consumerism, cultural imperialism and the Vietnam and Algerian wars.

May 22, 2009 Full Review Source: Times [UK]
Times [UK]

Engaging and beguiling - perhaps in spite of itself - and a vital part of film history.

May 22, 2009 Full Review Source: Guardian
Guardian

Godard and his great cinematographer, Raoul Coutard, translate the ideas into some of the most visually exuberant French cinema of the Sixties.

May 22, 2009 Full Review Source: Daily Telegraph
Daily Telegraph

Beautifully photographed, the film is something of a curiosity. It may be a little hard to fathom from time to time, but it never ceases to fascinate.

May 22, 2009 Full Review Source: Sky Movies
Sky Movies

At times infuriatingly indulgent but is also an intoxicating, wildly inventive picaresque fantasy.

May 22, 2009 Full Review Source: Financial Times
Financial Times

Pierrot is a mess, no matter how many times you see it, but it's a brilliant mess. Death of love, (re)birth of cinema.

April 23, 2009 Full Review Source: Boston Phoenix
Boston Phoenix

Audience Reviews for Pierrot le Fou (Pierrot Goes Wild) (Crazy Pete)

Pierrot le Fou is simple, yet completely exaggerated, such is the diversity and contradicting style of Godard. Ok, so it's no Breathless but it looks so good and it really is the quintessential 60's French film, switching between reality and fantasy in the name of freedom and the creative license of the silver screen. This is the Godard I love, and I certainly don't always. This is also the first existential film that I haven't hated, so that was nice for me to. Have I mentioned how good it looks?
September 26, 2011
SirPant

Super Reviewer

a step beyond À bout de souffle lies godard's avant-garde bonnie and clyde; not only influencing that film but likely influenced by it since he'd been sent the script in '65. whether this film used a script at all is an open question: it has only the barest outlines of a plot, many random asides, snatches of song, poetry, philosophy, both characters addressing the camera, so be warned if u don't have patience for such devices. otherwise it's a lovely road movie, adventure film, love story with the 'last romantic couple,' the hangdog dreamer belmondo and charming, mysterious anna karina, who never looked more beautiful. marvelous scenery and camerawork.
note: i've never heard anyone refer to this as 'crazy pete' but if i did i would probably smack them.
November 20, 2010
rubystevens
Stella Dallas

Super Reviewer

godard, belmondo, and karina team up again for a truly chaotic but wildly entertaining crime story that plays like a bonnie and clyde story with betrayal mixed in. karina is as beautiful as ever in this film, and although it has its absurd moments, the dialogue is as good as ever from a godard film and the style and texture of the film are a joy to watch. each time the story lost comprehension, it sort of fell back into place and pulled me back in. a bizarre but unique ending put the cap on an equally bizarre but completely satisfying film.
January 17, 2010
sanjurosamurai
danny d

Super Reviewer

    1. Marianne Ronoir: Aweful, isn't it? So anonymous... The say '115 guerrillas' and it doesn't mean a thing to us. Yet each one is a man, and we don't even know who he is. We don't know if he loves his wife, if he has kids, if he prefers movies or plays. We don't know anything. All they say is 115 killed.
    – Submitted by Nik M (22 months ago)
View all quotes (1)

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