Pierrot le Fou (Pierrot Goes Wild) (Crazy Pete) - Movie Reviews - Rotten Tomatoes

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

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January 30, 2014
France. Godard. 1960s.
January 22, 2014
Godard's use of colour makes this film not just centered around the plot, but also the cryptic symbolism that is displayed in his use of colour, adding an aesthetic focus throughout the movie that is well executed and artistically sublime.
January 19, 2014
wasn't particularly impressed. too arty and lacks coherence. i did like the illustration of the relationship; too often philosophy and words are artificially opposed with impulse and sensual experience, but man did i personally enjoy the recognition of that.

a second viewing had me liking it more, apparently. the music in this movie is fantastic, and I enjoyed the ironic advertising and political commentary.
December 19, 2013
(Review Soon) Godard and Coutard at their collaborate peak.
½ October 11, 2013
Waaaaaaaaaaaaaaaaaaay too Frenchy-artsy. Basically the definition of Frenchy-artsy. You can definitely see how Pierrot le Fou has rubbed off on filmmakers ever since - I see a ton of Tarantino and Wes Anderson in here. But it's not even really a movie. It is often extremely funny.
September 28, 2013
It's dragging narrative may not suit some, hell most of the audience, but if you can give the film a chance and play along with Godard's unique view of the human spirit you will be taken on a whimsical, enchanting and surreal poetic journey on the truths and hardships of love. Anna Karina yet again will blow you away with her childishly-adult behavior as the free spirited Marianne Ronior and Jean-Paul Belmondo expertly plays off of her as the cynical yet charming Ferdinand Griffon. Godard certainly proves he's one of the best around by creating a film simply for his own joy and still manages to include the audience and have them feel for the characters even if it is a highly unconventional romance film. Breathtakingly original and yet we can see every film that has influenced Godard's Pierrot le Fou. He's not afraid to to respect the classics and in turn he himself has created a classic that has made a profound impact on the world of film.
½ September 9, 2013
Pretentious piece of dog shit
½ July 15, 2013
Some of these French New Wave films are just silliness masquerading as genius. Pierrot le fou is a case in point and amid all the plot twists and pretensions there isn't much of a story. Yes it's experimental, but sometimes experiments don't pay off.
Super Reviewer
June 20, 2013
A brightly-colored crime thriller and comedy from French New Wave director Jean-Luc Godard, Pierrot le Fou is unusual but charming in its oddness and visual extravagance. It follows Ferdinand and Marianne (Jean-Paul Belmondo and Anna Karina respectively), two lovers on the run after committing a number of crimes, including murder. The story is one of the less important aspects of the movie though because more often than not it seems almost plotless. There are frequently scenes that are irrelevant to the story, including a couple of scenes that just involve a character reading a passage from a book while looking at the camera. Like many Godard movies, Pierrot le Fou is very self-aware and breaks the fourth wall often. Aside from Belmondo reading a book to the camera, there is also a memorable moment when he is talking to Karina and says something that seems like a non sequitur. When Karina asks what he means, he tells her he was talking to the audience and then he turns back and glances at the camera for a moment. It's moments like this that make Pierrot le Fou so fun to watch, along with the gorgeous color scheme. Not all of Godard's movies were in color, but the ones that were look absolutely beautiful. Pierrot le Fou's use of red and blue especially make it look astounding. It's clear that Godard's use of color had an influence on many contemporary filmmakers, especially Wes Anderson whose use of color was without a doubt inspired by Godard. Unfortunately the movie's pacing slows down more than once because of the frequent detours from the story, but it's generally still engaging enough thanks to the two fantastic lead actors (Anna Karina is breathtakingly beautiful) and the unique visuals. It's a little messy and more than a little flawed, but Pierrot le Fou is nonetheless compelling thanks to its colorful visuals, great actors, and self-aware sense of humor. It's sure to turn off many people with its sometimes chaotic storytelling methods, but for those with the patience to watch it all the way through, Pierrot le Fou is a one-of-a-kind movie with a lot to offer.
½ June 7, 2013
Capturing the essence of freedom that we associate with young love while also investigating the tragedy that comes with it. Our characters explore affection for one another through a romantic journey in europe that sensationalizes absurdity as an art form. This is not to say that the film is bad. By no means is it a poor film. pierrot le fou is rich in beautiful images and spoken words. It is poetic and can make you remember the greater things in life. The darker subjects in this film are toned down and become strangely invisible. There is little melancholy in this film even when the narrative seems to ask for it. The color of this film is hand picked and the sets scream for attention. There is a bit of cynicism to the film as it touches on the efforts of organized society with its commentary on the present day (1965) efforts such as J F Kennedy's efforts to land on the moon and the war against communism. Jokes are made and stories are told and songs are sung. Pierrot le Fou is a good film for lovers.
April 1, 2013
More than anything I think I enjoyed the banter between the two leads, Jean-Paul Belmondo and Anna Karina, who is just lovely.

One of the last Godard films that had a fairly simple through-line, this arrived just on the verge of his challenging films of the latter part of his career, very few of which appeal to me all that much.

Worth a rental.
March 22, 2013
Surreal and erotic, with plenty of clever experimental touches, 'Pierrot le Fou' tells the colourful story of two people whose impulse decision to run away together lands them in hot water.
March 10, 2013
Vom Spießer zum Killer in einem Augenblick, könnte die Tagline für Jean-Luc Godards "Pierrot le Fou" lauten.

Als Persönlichkeit und Intellektueller ist Godard, wie auch seine Nouvelle Vague-Kollegen, faszinierend. Er ist ein Universalgenie und Theoretiker (für letztere hab ich immer einen Platz in meinem Herzen übrig), seine Werke sind stark von seiner politischen Couleur gefärbt, doch selbst mehr als nur Politkunst. Sie behandeln nämlich nicht bloß die Missstände im Kapitalismus, sondern auch die Auswüchse der Anglo-Amerikanischen Popkultur, die Kunst an sich und eine Bandbreite an philosophischen Themen.
Nichtsdestotrotz, ist Godard als Filmemacher niemand, auf dessen Filme ich groß erpicht wäre. Dies hat v.a. mit seinem Filmstil zu tun, weniger mit seinen Themen, sondern wirklich mit technischen Details.

Godard versucht Inkohärenz in der Kunst durch Inkohärenz aufzudecken und zu bekämpfen, was dazu führt, dass Pierrot le Fou" einer der zerfahrensten Filme ist den ich je gesehen habe.
Die Narrative springt von Plotpoint zu Plotpoint und weist etliche Lücken in ihrer Erzählstruktur auf. Wenige Motive werden aufgedeckt und wenige Charaktere tatsächlich weiterentwickelt.

Die geradezu essayistischen Dialoge sind zwar hochphilosophisch aber dienen selten dazu das Gesehene zu erklären oder zu kommentieren. Fast wie bei einem Essayfilm, laufen Bild und Ton aneinander vorbei.

Ich muss jedoch anerkenne, wie unterhaltsam Godard seine nicht gerade subtile Kritik an Kapitalismus, Werbung und Amerikanischer Popkultur in seinen Film einbaut, indem er massenhaft Popkulturreferenzen und Werbebotschaften einstreut. Auch die Farbpalette des Films zählt zu den wenigen positiven Punkten die ich finden konnte.

Alles in allem, ist der Film v.a. eines - langweilig. Nicht, dass nicht genug passieren würde, immerhin pflastern Leichen und surreale Momente Ferdinands Weg, sondern, dass durch die gestörte Erzählweise, meine Aufmerksamkeit nicht erkämpft werden kann, und ich das Dahinplätschern von willkürlichen Szenen als Test für meine Konzentration empfand.
Der Stoff, hätte einiges mehr an Möglichkeiten geboten einen ansehnlichen Film zu machen, dass das wohl nicht Godards Intention war, ist mir zwar bewusst, ändert aber nichts an meiner grundlegenden Sichtweise.
½ March 10, 2013
Warrant multiple viewing with many level in the story and caracter construction, rich in allegory but also, and foremost, visually ellegiac. This movie is like a crazy rock n roll song and even though it looks quiet,its quite a loud scream.
March 6, 2013
The only Godard movie that i genuinely liked.
February 20, 2013
Godard made many breakthrough's in the editing department and this film is a manifestation of these breakthroughs. Great Chemistry between Belmondo and Karina and I really appreciated the innovative narration.
February 16, 2013
This is Awkward! FYeah Godard!
January 23, 2013
Godard turns the lack of preparation for this film into an exciting asset. He lets actors Belmondo and Karina improvise and share their great chemistry together without restricting his film and letting himself be influenced from anything between gritty independent style and glamorous Hollywood musicals.
Super Reviewer
½ January 9, 2013
With the last Jean-Luc Godard film that I have watched (which is "Weekend") tracing back about 3 years ago, that of which I also vividly remember of not liking that much, it's genuinely reinvigorating to watch some of his earlier, more beloved works that are, undoubtedly, the patented heart and soul of the French New Wave. In this instance, it is "Pierrot le Fou", a masterful adventure film about love, self-discovery and, ultimately, self-destruction. But with Godard on the helm, nothing is particularly absolute.

Starring the charismatic yet mischievous-looking Jean-Paul Belmondo and the enticingly energetic Anna Karina, the film, about two star-crossed, perennially on-the-run lovers, is packed with immense intellectual energy and colorful playfulness characteristic of the aforementioned film movement.

Although the film sure has a conventional story that's quite easy to follow, it's never the main priority. Instead, "Pierrot le Fou" is a film that follows the impulse not of its surface narrative but of the transgressive potentials the film medium has. In short, "Pierrot le Fou" is a half-comic, half-poetic intimation of cinema itself, and there's never a more perfect filmmaker to handle it than Godard himself.

Personally, the key to enjoy "Pierrot le Fou" more is not to be too conscious and reliant of the plot because if you'll be, the film has numerous elements that can surely and gravely deviate from its focus. One of them, of course, is the seemingly disjointed, pseudo-romantic yet nonetheless poetic utterances by Belmondo's titular character. Another is the film's inclusion of random, millisecond appearances of numerous neon signs, some of which read the words 'cinema' and 'life'.

These minute details, obviously, are nothing but sheer experimental frolic on Godard's part, which, admittedly, has nonetheless added an additional spark of uniqueness to the film's entirety.

"Film is like a battleground. There's love, hate, action, violence, death... in one word: emotions," said Samuel Fuller, who appeared in "Pierrot le Fou" as himself. In a way, this cameo by the said filmmaker is a deliberate embrace of irony on Godard's part, who, from what I think, believes that cinema is so much more than emotions. Sure, they (the emotions) may slightly further a storyline, motivate some characters and justify some scenes, but ultimately, what Godard is more concerned about is his audience's intellectual and subtly didactic journey through the heart and pulse of cinema itself. Or, to be more exact, 'his' own vision of cinema: a vision where anything goes, where obscure music and high-brow literature fit nicely in mundanely immature conversations and situations, and where blood and violence seem highly inconsequential. Hell, even highway accidents have never looked more picturesque and unearthly than in "Pierrot le Fou" (but then again, there's that epic tracking shot in "Weekend").

"It's not really a film, it's an attempt at cinema," Godard once said about "Pierrot le Fou". Well, if "Pierrot le Fou" is not, in its basic essence, a film, then perhaps Belmondo's Pierrot (oh sorry, his name is Ferdinand) and Karina's Marianne are not much characters themselves than they are mere devices for Godard to kick-start a necessary road trip and to make his ultimate goal, which is to explore the then-unchartered frontiers of postmodern cinema, as humanly and tangibly flawed as possible. And alas, he has pulled it off.

Indeed, "Pierrot le Fou" is a film that's worthy of many future revisits. For me, the film has definitely achieved what many art films haven't, and that is to be thematically dense and genuinely enjoyable at the same breath. Plus, amidst its pop-intellectual discourse about nothing and everything, it has also raised quite a compelling outlook on existence; that after all is said and done', 'we are just dead men on parole.'
Super Reviewer
½ December 26, 2012
Very refined and stylish story brought as excellently as one Godard fan would expect, with Belmondo and Karina as great as expected, chaotic events being unleashed thanks to the consequences caused by... a lack of script. Godard lucky? I don't think so.

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