A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Paul is young, just demobbed from national service in the French Army, and dishillusioned with civilian life. As his girlfriend builds herself a career as a pop singer, Paul becomes more ... See full summary »
A supposedly idyllic week-end trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse ... See full summary »
During the Algerian war for independence from France, a young Frenchman living in Geneva who belongs to a right-wing terrorist group and a young woman who belongs to a left-wing terrorist ... See full summary »
Ferdinand Griffon is married with his wealthy Italian wife and has been recently fired from the television where he worked. His wife forces him to go to a party in the house of her influent 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 to call 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
The movie is mentioned by Brazilian singer Vinícius Cantuária in his song "Clichê do Clichê". See more »
What are you doing?
[looking at the mirror]
Looking at myself.
And what do you see?
The face of a man who's driving towards a cliff at 100 km/h.
[turns the mirror towards herself]
I see a woman who is in love with the man who's driving towards a cliff at 100 km/h.
So let's kiss.
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Artists are often remembered more for their brasher, earlier work - films, novels, paintings, etc. that pushed the boundaries of their medium to create something bold and unique. Sometimes, though, we ignore the faults of those earlier works, while more mature, more perfect later works are ignored because they lack the visceral shock of the new inherent in the artist's first pieces.
Godard strikes me as an artist of which this occurrence is particularly true. His Breathless ushered in the Nouvelle Vague of French cinema and has long been held as not only a classic, but also his masterpiece. As wonderful and fun as Breathless is, I find it much slighter Godard's later work, most notably Vivre Sa Vie, Le Mepris, Bande A Part, Weekend, and, of course, Pierrot Le Fou.
Breathless represents more technical innovation than anything else. It is a terrific story, but one that lacks the thematic depth of those other films. Godard touches upon the ideologies that will concern him later, but he does not delve into the plight of woman, the pitiful nature of the bourgeoisie, or the nature of film as much as he would in a couple years.
For me, the greatest achievement of Godard is Pierrot Le Fou. In it, he combines comedy, the road picture, extreme pathos, a scathing indictment of Capitalism, and a critique of contemporary society in an unimaginable way. The film moves along, following Ferdinand and Marianne, but any semblance of a normal narrative gets lost along the way. This is, of course, welcome. You do not come to Godard expecting the ordinary.
Though it lacks the photographic beauty of Le Mepris, Pierrot nevertheless represents one of Godard's most brilliant uses of color. The use of color filters in an early scene, reminiscent of Ivan the Terrible II's final scenes, is quite arresting and the overall use of the eastmancolor pallet is gorgeous. This is a very, very colorful film, which is appropriate for such a playful narrative.
The acting is similarly brilliant. Belmondo gives a more nuanced and more demanding performance here than he did in Breathless, and Karina matches him. Like one of the great starlets of the 40s and 50s, she bestows a grace, beauty, and elegance to her scenes. It helps that Godard's camera absolutely adores her (not quite as much, though, as it adored Brigitte Bardot's rear in Le Mepris), but much of what she does in this film derives from her talent rather than Godard's.
Again, though, I must warn that Pierrot is not a film for everyone.
Yes, it's a funny, brilliantly acted, and beautiful film, but it's also Godard, one of the most acquired tastes in the history of cinema.
That said, if you've not seen this film and consider yourself a fan of this director, see it soon - you'll not be disappointed.
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