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Pierrot Le Foot Navigation menu VideoPierrot le fou(Jean luc Godard ) - Scène de la conversation à la plage
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They spend the night together and he learns that she's involved in smuggling weapons. When terrorists chase her, they decide to leave Paris and his family behind and go on the run, on a crazy journey to nowhere.
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!
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 , it came during the eight-year period ''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. Prime Video has you covered this holiday season with movies for the family.
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The film has many of the characteristics of the then dominant pop art movement,  making constant disjunctive references to various elements of mass culture.
Like much pop art, the film uses visuals drawn from cartoons and employs an intentionally garish visual aesthetic based on bright primary colors.
Sylvie Vartan was Godard's first choice for the role of Marianne but her agent refused. As with many of Godard's movies, no screenplay was written until the day before shooting, and many scenes were improvised by the actors, especially in the final acts of the movie.
The shooting took place over two months, starting in the French riviera and finishing in Paris in reverse order from the edited movie.
The director said the film was "connected with the violence and loneliness that lie so close to happiness today.
It's very much a film about France. The American film director in the party scene is Sam Fuller as himself. It was one of its first titles released on Blu-ray  before being discontinued after Criterion lost the rights to StudioCanal.
The Ford Galaxie that was driven into the water and sunk was Godard's own. The website's critical consensus: "Colorful, subversive, and overall beguiling, Pierrot Le Fou is arguably Jean-Luc Godard's quintessential work.
From Wikipedia, the free encyclopedia. Pierrot le Fou French theatrical release poster. Release date. Running time. Jean-Paul Belmondo as Ferdinand Griffon, a.
Retrieved 14 March The Art and Politics of Film. Retrieved Los Angeles Times 17 Apr b8. Rotten Tomatoes. Retrieved 9 April Jean-Luc Godard.
Two in the Wave documentary One P. Sutherland Trophy —winning films.