Supelice Dreadfully Boring

Ketrivie It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

Tayloriona Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Kayden This is a dark and sometimes deeply uncomfortable drama

chaswe-28402 If you've nothing to say, why say it ? Without a few hints about the pointless story hidden in this mess, I would not have understood anything. I didn't understand anything anyway. I stuck it for about an hour, then I switched off. Endless totally disconnected jump-cuts in garish colours, it was only bearable for an hour because the actors made quite an attractive couple. I did take a look at the ending. Somebody shot her, because there was some fake red blood running all over her face. Then he painted his face blue, and blew himself up. The answer is, it was made in order to win a prize at some film festival. Godard did make "Breathless" which is a great film, which I enjoyed a great deal. I have seen some of his other films. I didn't enjoy any of them.

reasonablyniceperson Regardless of what you will hear from pompous leftist professors in your Film Studies classes, kiddies, Jean-Luc Godard's "Pierrot le Fou" is really nothing more than an egotistical exercise in cinematic masturbation. That would be acceptable for a movie made for private viewing at home, but when it is released in public theaters it also becomes exhibitionism. Of course if you enjoy this kind of voyeurism it might be right up your alley, so to speak. All others should be warned. 'Ooh, look at me,' Godard seems to be saying. 'I'm an artiste, and a philosopher too! Not only can I juxtapose reality with surreality, I can be absurdist as well, with doses of deep Marxist commentary thrown in for good measure! Isn't that like, so cool, and revolutionary?" Uh, no. Not really, Jean-Luc.It is movies like this that give so-called "art house" films and filmgoers a bad name. When I overheard a couple of obnoxious self-styled cineastes analyzing and deconstructing the film afterwards with references to Roland Barthes and Jacques Derrida I almost wanted to puke.The best directors do not purposely draw attention to themselves, their craft or their directing style because they realize that, aside from documentaries, good filmmaking is primarily about one thing - telling a story in the best possible way. If you have to sit through this movie in Film Class bring a barf bag and some NoDoze. To cleanse your cinematic palate when you get home enjoy a movie made by directors like Frank Capra, Preston Sturges or even Clint Eastwood with a bag of popcorn or a box of Raisinets.

Ore-Sama Like much of Godard's work, "Pierrot le Fou" doesn't have much of a plot so much as a basic premise. Frenidand, bored and alienated by his robotic upper class peers, leaves a party on bad terms and runs into his still at home babysitter. He drives her home, and then the two start to fall in love. Then they run off, and the rest of the film is their misadventures.The film is filled with subversions and deconstructions. The soundtrack inexplicably stops and restarts throughout. Characters talk directly to the audience, and at points even just flat out say "the audience". The characters are well aware they're in a movie at points ("let's go back to the gangster picture"). There are a few musical numbers, though they are very low key, lacking the grandeur and choreography one would expect. In fact, I love the musical moments in this film because they are so low key and unobtrusive. Action sequences are truncated and undermined. The characters narrate, often telling the audience what the next chapter is, which is pretty much always despair, bitterness and hope. Godard is determined to tear down the curtain, to never let you forget you're watching a movie.Yet, all of these elements come together naturally. It never crosses into stupid pretentiousness. These elements only serve to enhance and give a new layer to a film that is still deeply compelling. Godard apparently didn't care to be sentimental (a lot of the European art directors don't care for that word) but sentimental is one way I'd describe the movie. Here we have two characters whose common ground is being unable to live in their current state of life: Fernindand because it's devoid of any intellectuality and passion, Marianne because she seems incapable of living in a steady life and becomes bored quickly. It's for this reason the two are drawn toward each other and run away together.Much of the film is made up of episodes, as the two end up on a "Bonnie and Clyde" style crime spree (a whole two years before the definitive Bonnie and Clyde movie made waves in the united states), robbing people and trying to stay one step ahead of the police as well as gangster Marianne has angered. The movie is very comedic in it's tone, and while it's easy to laugh at the absurdities of what you see, I found the most humor in the subversions and pot shots at cinematic tropes. In contrast though, you'll have the characters, whether in narration or talking to the audience (especially Fernidand) giving beautiful narration and monologues, punctuated by beautiful imagery (did I mention the film looks really good?). Their feelings for each other indeed begin being put to the test, as while the similarity brought them together, their differences start to bring them into conflict, shown when the characters are hiding out in a beautiful resort with nothing to do. When Marianne suggests going back to "the gangster picture", their crime spree, it makes clear that the distraction of danger and adventure may be what keeps them together.This blending of comedy and deconstruction with almost poetic resonance of feelings comes to ahead in it's ending, which I won't spoil, but needless to say it is both hilarious and touching.If you've seen any of Godard's other films, you have a good idea of what you're in for. If you've never seen a Godard film, this one might catch you off guard, but it's probably among his more easily accessible films.

gavin6942 Pierrot (Jean-Paul Belmondo) escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne (Anna Karina), a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.Like much pop art, the film uses visuals drawn from cartoons and employs an intentionally garish visual aesthetic based on bright primary colors. You will definitely notice the interesting lighting for the driving scenes, which are silent other than dialogue. This is clearly not a real car, but just a prop with various colored lights shining across it.The film seems to have been an inspiration for later Japanese animation (notably "Ghost in the Shell" and "Cowboy Bebop") for reasons that are completely unclear to me.