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Pierrot le Fou (1965)

Pierrot le fou (original title)
Not Rated | | Crime, Drama, Romance | 8 January 1969 (USA)
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Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.

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Nominated for 1 BAFTA Film Award. Another 1 win & 1 nomination. See more awards »

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Cast

Complete credited cast:
...
Ferdinand Griffon, 'Pierrot' (as Jean Paul Belmondo)
...
Graziella Galvani ...
La femme de Ferdinand
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Storyline

Ferdinand Griffon is married with his wealthy Italian wife and has been recently fired from the television station where he worked. His wife forces him to go to a party in the house of her influential father that wants to introduce Ferdinand to a potential employer. Her brother brings the babysitter Marianne Renoir to take care of their children. Ferdinand feels bored in the bourgeois party and borrows his brother-in-law's car to return home. He meets Marianne, who was his lover five years ago and insists on calling him Pierrot, and offers to take her home. However, he spends the night with her and finds that she is involved in smuggling weapons. When Marianne is chased by terrorists, they decide to travel to the beach without any money, leaving Paris and his family behind in a crazy journey to nowhere. Written by Claudio Carvalho, Rio de Janeiro, Brazil

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Genres:

Crime | Drama | Romance

Certificate:

Not Rated | See all certifications »

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Details

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Language:

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Release Date:

8 January 1969 (USA)  »

Also Known As:

Pierrot le Fou  »

Filming Locations:

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Box Office

Budget:

$300,000 (estimated)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Samuel Fuller: The American film director in the party scene. See more »

Goofs

[possibly done by the character] Samuel Fuller mentions to Ferdinand that he's visiting Paris to see some exhibition of "Les Fleurs du Mal" to which the other man mentions that Voltaire is the author - when in fact the real author is Charles Baudelaire. See more »

Quotes

Ferdinard: Ten minutes ago, I saw death everywhere. Now it's just the opposite, look at the sea, the waves, the sky. Life may be sad, but it's always beautiful!
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Connections

Referenced in A Decade Under the Influence (2003) See more »

Soundtracks

Ma Ligne de Chance
By Antoine Duhamel and Serge Rezvani
Performed by Anna Karina and Jean-Paul Belmondo
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User Reviews

Go Crazy with Pierrot
11 August 2000 | by See all my reviews

Jean-Luc Godard's Pierrot le Fou begins with a montage that features some of the most beautiful images ever caught on film. (Tellingly, the only other '60s film to feature such lush photography was Godard's Contempt). But even before these images appear, we've been captured by the soundtrack. Some of the most creative exposition ever follows and things only get better from there on in.

To summarize Pierrot is to betray its essence -- it's as much about its own making as any story -- but here goes nothing: Pierrot, a bored man stuck in a bourgeois marriage, runs off with his children's babysitter, Marianne, herself hiding from gangsters. Bizarre musical numbers and hilarious conversations with no relevance to the plot sometimes break up the story. Characters talk to the camera, and Pierrot yells "Mais, je m'appele Ferdinand!" ("But I'm named Ferdinand!")

Still, plot hardly seems to matter while watching the film. Godard is often called elitist or inaccessible. That's not true, however, and Pierrot is, above all, wild, anarchic fun. Try not to laugh during the absurd bits featuring a sailor who complains that he's had a song stuck in his head for several decades. Try not to grin when Pierrot and Marianne "reenact Vietnam" for a group of American tourists.

Pierrot is one of cinema's essential films, perhaps because it came at the precise moment when Godard hit his all-time peak. Made in 1965, it came during the eight-year period ('59-'67) during which the man made a jaw-dropping fifteen films. Some of them work better than others -- no wonder, for he was experimenting with all of cinema's possibilities -- but many are masterpieces, and Pierrot is the crown jewel.

In many respects, Pierrot is flawless. In all others, it remains great art.


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