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Pierrot Le Fou (1965)

Pierrot Le Fou (1965)
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Pierrot le fou (1965) is Jean-Luc Godard's sixth film staring Anna Karina, his first wife. It is the story of Ferdinand (Jean-Paul Belmondo) and Marianne (Karina). They meet when Ferdinand's wife hires Marianne as a baby-sitter. As he drives Marianne home, Ferdinand decides to run away with her. The couple get caught up in a mysterious gun-running scheme involving Marianne's brother (Dirk Sanders). With Pierrot le fou Godard returns to the story of A bout de souffle (Breathless): the tale of a couple on the run. But in the six years between the two films Godard developed a more complex and often difficult style. Pierrot le fou incorporates musical numbers, references to the history of cinema and painting, and quotations from literature. The film features Godard's most extended use of color to that point, as the shots are filled with blocks of bright primary colors. Pierrot le fou is a catalogue of cinematic inventions and of gestures made by couples in love. ~ Louis Schwartz, Rovi

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Starring:
Jean-Paul Belmondo, Anna Karina, (more)
Director(s):
Jean-Luc Godard
Format(s):
DVD  |  Blu-ray
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Synopsis of Pierrot Le Fou

Pierrot le fou (1965) is Jean-Luc Godard's sixth film staring Anna Karina, his first wife. It is the story of Ferdinand (Jean-Paul Belmondo) and Marianne (Karina). They meet when Ferdinand's wife hires Marianne as a baby-sitter. As he drives Marianne home, Ferdinand decides to run away with her. The couple get caught up in a mysterious gun-running scheme involving Marianne's brother (Dirk Sanders). With Pierrot le fou Godard returns to the story of A bout de souffle (Breathless): the tale of a couple on the run. But in the six years between the two films Godard developed a more complex and often difficult style. Pierrot le fou incorporates musical numbers, references to the history of cinema and painting, and quotations from literature. The film features Godard's most extended use of color to that point, as the shots are filled with blocks of bright primary colors. Pierrot le fou is a catalogue of cinematic inventions and of gestures made by couples in love. ~ Louis Schwartz, Rovi

Theatrical Feature Running Time:
110 mins

Complete Cast of Pierrot Le Fou


Director(s):
Jean-Luc Godard
Writer(s):
Jean-Luc Godard
Producer(s):
Georges de Beauregard
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    Anthony T.

    Despite being undercelebrated, Pierrot Le Fou is perhaps Godard's most accessible movie and in being accessible most subversive movie. Later films totally collapse the narrative, yet this is Technicolor dream of narratiion, vivid colors, and odd events. It's strange that though Godard has been imitated through the decades, no one captured the freshness and exhilirating sense of freedom as this film. Alas, his personal turn to politics would lead him to bitter ends. So- Pierrot Le Fou is funny and worth your while. Look up Shoot the Piano Player by Truffaut, as well. Make it a night of forgotten films by french filmmakers- Anthony for Cinemail.net

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    Marc F.

    This movie floored me - it's 10 years ahead of its time visually and thematically. And it's so much more accessible than most of Godard's crapfests. It actually has a coherent story. Belmondo and Karina are perfect for their parts. The use of primary colors was fantastic and the line-dropping of literature and art history was very interesting. Even the anti-American tomfoolery wasn't too obnoxious - perhaps the French forgot that Vietnam was basically their fault . . .

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    J'ADORE LE CINEMA O.

    Godard's last film with actress and ex-wife Karina is truly an homage to her. She is given the choicest role here with the star of stars Belmondo. Equally as important as the film is the bonus material on the Citerion Disc 2. The 53 minute documentary about the tragic relationship between Godard and Karina is presented as is their filmography, which assists in putting this film in perspective, as the real life relationship is reflected in the filmatic one. This film is so complex with so much happening on different levels, that it is not possible to analyse it in this short a space. As the critic on disc 2 said, so much has been written about (the party scene) that it is difficult to add more. Sometimes I thought the film moved slowly in the middle so don't watch it when you are tired. It makes me want to watch the other 5 films between these two, in the order created, to more greatly appreciate the significant contribution to film as art that they made.

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