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 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
Provencal scenery is pretty, the movie-star chemistry is potent and Karina (then Mrs. Godard) has never looked more stunning.
... plays like Godard's formal farewell to his past films, a last play with his old toys before putting them into storage and moving on to more serious concerns
Pierrot le Fou is a movie in love with movies, but mostly it's a movie in love with itself.
Engaging and beguiling - perhaps in spite of itself - and a vital part of film history.
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]
I once wrote of it as "Godard's most virtuoso display of his mastery of Hollywood genres," I now see it more as the story of silly characters who have seen too many Hollywood movies.
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.
At times infuriatingly indulgent but is also an intoxicating, wildly inventive picaresque fantasy.
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 idiosyncratic work by a filmmaker trotting out his obsessions of the moment and committing them to film without much regard for actual meaning.
It's one of Pierrot's unique charms that Godard doesn't regard Ferdinand and Marianne's situation with emphatic mockery or inordinate reverence.
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.
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
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.
Totally bizarre and ultimately without much point -- Godard's message about commercialism is drowned in a sea of oddity.
...ultimately nothing more than an infuriatingly vague and utterly pointless piece of work...
| Tomatometer Percentage | Movie |
|---|---|
| 66% 66% | Public Enemies |
| 83% 83% | Harry Potter and the H… |
| 44% 44% | Night at the Museum: B… |
| 75% 75% | Julie & Julia |
| 32% 32% | Terminator Salvation |
| Tomatometer Percentage | Movie |
|---|---|
| 90% 90% | District 9 |
| 86% 86% | 500 Days of Summer |
| 63% 63% | Extract |
| 06% 06% | All About Steve |
| 78% 78% | It Might Get Loud |
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