Pierro escapes his boring society and travels from Paris to the Mediterian Sea with Marianne a girl who is chased by hit-men from Algeria. They lead a unortodox live always on the run.
If ever there was a master key to the 1960s films of Jean-Luc Godard, "Pierrot le fou" is it. The film is a catalogue of Godard's obsessions and themes, both summing up his pre-1965 features and pointing the way forward to the increasingly political and didactic films he'd be making in the second half of the decade. Like even his most strident later films, "Pierrot" mixes its political dialectics and commentary with a healthy visual playfulness and sense of humor that keeps the film from becoming too weighty. On its narrative level (always the least important part of any Godard film), the film recounts the story of a washed-up former writer (Jean-Paul Belmondo) who runs off with his former lover (Anna Karina), a free spirit who's mixed up in mysterious ways with some gun-runners and revolutionaries. The film brings together Godard's two most iconic stars, casting them in a rambling road trip adventure that's a dual trip through Godard's previous films and the history of literature every bit as much as through any physical terrain. There's a commercialist satire reminiscent of the Bardot vehicle "Contempt," both in its vicious mocking of the bourgeoisie and in its seemingly random application of multi-colored filters to the image. There are a handful of makeshift musical numbers that recall Karina's turn in "A Woman Is a Woman," and a sequence of torture that directly references the themes terrorism and violence from "Le Petit Soldat." And "Pierrot" also looks forward to the theatrical elements and bright primary colors that would increasingly figure in Godard's politically motivated films after 1965. All of this makes "Pierrot" a key film for those interested in Godard's progression as an artist, but perhaps more importantly the film is simply a ton of fun to watch. With its patently fake backdrops and props and its playful sense of composition, color, and genre deconstruction, the film is the epitome of Godard's early 60s period.
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Jean-Paul Belmondo stars in this classic 1960s drama by film-maker Jean-Luc Godard. Unfulfilled in life, Ferdinand (Belmondo) decides to leave his wife and child and runs off with the babysitter, Marianne (Anna Karina). As the pair head south in search of Marianne's brother, Ferdinand unwittingly gets caught up in his new lover's crimes and they both spiral down a path of self-destruction.
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