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Pierrot le Fou (1965)
"Pierrot le fou" (original title)

 -  Crime | Drama | Romance  -  8 January 1969 (USA)
7.8
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Ratings: 7.8/10 from 14,611 users  
Reviews: 67 user | 86 critic

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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Title: Pierrot le Fou (1965)

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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

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. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

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Language:

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Release Date:

8 January 1969 (USA)  »

Also Known As:

Pierrot le Fou  »

Filming Locations:

 »

Box Office

Budget:

$300,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The last lines are a quote from Arthur Rimbaud's "A season in Hell". See more »

Quotes

FerdinardMarianne: Why do you look so sad? Because you speak to me in words and I look at you with feelings.
See more »

Connections

Referenced in Boy Meets Girl (1984) See more »

Soundtracks

Ma Ligne de Chance
By Antoine Duhamel and Serge Rezvani
Performed by Anna Karina and Jean-Paul Belmondo
See more »

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User Reviews

 
Crime Story and Musical, Melodrama and Grotesque Comedy
1 December 2005 | by (Berlin, GER) – See all my reviews

"Film is like a battleground", tells Samuel Fuller Ferdinand in the beginning of this film: "Love, hate, action, violence, death. In one word: emotion." 'Pierrot le fou' is a 110 minutes film by Godard and his tenth feature. It's roughly based on a crime novel written by Lionel White. Tho, don't expect a linear adaptation. In fact, Godard and his actors mostly improvised and therefore deliver a dodgy 'surrealeperiment'.

The plot summary therefore must be given a little superficially: It's about a wannabe writer, Ferdinand Griffon (Belmondo) who escapes his every day life and runs off with his mistress Marianne (Karina) to the Mediterranean Sea. Far away from his family, he lives for the moment, reads books and tries to work on a diary. Meanwhile, the police and Algerian killers are chasing Marianne because she has committed a murder.

Godard assembles philosophical texts with shots of posters and screens, sets in musical elements and achieves to encode his film in a very inspiring way. Sometimes the imagery is fair and beautiful (i. e. Belmondo and Karina are running along a silhouette like forest which is photographed in front of a white, flat background), sometimes odious and angry (i. e. Belmondo finds an Algerian murdered with scissors and he keeps on raking in the wound), sometimes stirringly artistic (i. e. Karina takes the murder instrument, the scissors holds it in front of a wide-angle-lens and creates an unbelievably coherent effect of distortion).

Those who take the film with a living mind will experience a fascinating, beautifully filmed love story with two protagonists who do everything within the power of their tremendous acting potential. Concerning the contents, it is a cinematic toying with the duality of the characters (Ferdinand and Pierrot or Ferdinand or Marianne) or rather with schizophrenia. Belmondo plays a mad crackpot who first has a pretty martialistic based life as a husband and father whose world view staggers because of upcoming converse feelings - personated by Karina. She, married with Godard at that time, plays the character Marianne with wit, depth and anarchic charme. Her role is the symbolic enlightenment in Ferdinands being. While he strives melancholically for wisdom and always throbs on the importance of the arts, Marianne is a lackadaisical playgirl and swinger who wants to be instead of having. Belmondo as Ferdinand shows in all of his agility a vulnerability that hides behind the same gruffness of 'Une femme est une femme'.

'Pierrot le fou' is a film that dines from various influences, having some sort of private, economic, cultural or political natures. More than every other 'auteur' Godard manifests himself once more as the chronologist of his time.


15 of 23 people found this review helpful.  Was this review helpful to you?

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