It works well enough on that level alone -- a simple crime thriller -- but it also functions as an allegorical view of the Vietnam War.
Pierrot Le Fou (1965)
Tomatometer
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Reviews Counted:34
Fresh:28
Rotten:6
Average Rating:7.7/10
Runtime: 1 hr 50 mins
Genre: Foreign Films
Synopsis: French auteur Jean-Luc Godard continues his fascination with the crime genre--after BREATHLESS and BAND OF OUTSIDERS--with PIERROT LE FOU. After escaping his stale, bourgeois marriage, Ferdinand... French auteur Jean-Luc Godard continues his fascination with the crime genre--after BREATHLESS and BAND OF OUTSIDERS--with PIERROT LE FOU. After escaping his stale, bourgeois marriage, Ferdinand Griffon (Jean-Paul Belmondo), a man on the run, encounters a captivating woman, Marianne (Godard's then-wife, Anna Karina). Striking up an immediate connection, the two begin a freewheeling affair that leads them to the Mediterranean Sea. There's one slight problem, though. Marianne is being pursued by a group of bloodthirsty mobsters who have chased her out of Algeria. Making matters worse for Ferdinand is the unfortunate fact that she turns out to be as much of a headache as his wife was, constantly referring to him as "Pierrot," much to his disdain. As their relationship reaches its boiling point, the hit men arrive, threatening to terminate both their relationship and their lives. Based on Lionel White's OBSESSION, PIERROT LE FOU is an example of a filmmaker's lack of preparation actually working to his benefit. Godard has said that he had no script on which to proceed, forcing him to make up the film as he went along. It is this seemingly improvised, brisk pacing--in addition to the performances of Belmondo and Karina--that makes the film such a fresh and original twist on an oft-mimicked genre. [More]
Starring: Jean-Paul Belmondo, Anna Karina, Jean-Pierre Léaud
Starring: Jean-Paul Belmondo, Anna Karina, Jean-Pierre Léaud
Director: Jean-Luc Godard
Director: Jean-Luc Godard
Screenwriter: Jean-Luc Godard
Composer: Antoine Duhamel
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Reviews for Pierrot Le Fou
Arguably one of the few Godard pictures to have the desired balance of romance, adventure, violence, and humor on one side, and philosophy, literary and cinematic allusion, and Brechtian distancing on the other.
And then there´s the color. As much as anything, "Pierrot" is a film about red and blue, as well as a little bit of yellow and green.
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.
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.
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.
It's one of Pierrot's unique charms that Godard doesn't regard Ferdinand and Marianne's situation with emphatic mockery or inordinate reverence.
More surprising is how lushly romantic the film seems now -- even the frostiest qualities of the director's volatile aesthetic are warmed by the Riviera sunlight and the presence of Karina at her most beguiling.
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.
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.
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.
At times infuriatingly indulgent but is also an intoxicating, wildly inventive picaresque fantasy.
An idiosyncratic work by a filmmaker trotting out his obsessions of the moment and committing them to film without much regard for actual meaning.
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.
Pierrot Le Fou was [Godard's] way of wrapping up the past before stepping forward into his next phase of overtly political filmmaking -- a magnificent mash-up before the manifestos to come
| Tomatometer Percentage | Movie |
|---|---|
| 36% 36% | Angels & Demons |
| 25% 25% | Four Christmases |
| 68% 68% | Funny People |
| 95% 95% | Star Trek |
| 14% 14% | The Ugly Truth |
| Tomatometer Percentage | Movie |
|---|---|
| 32% 32% | Terminator Salvation |
| 44% 44% | Night at the Museum: B… |
| 86% 86% | A Christmas Tale |
| 60% 60% | Paper Heart |
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