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Pierrot le Fou

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828:, most prominently in an early scene at a cocktail party that demonstrates the bourgeois world Ferdinand flees from. The interactions of the guests consist solely of advertising slogans, drawing attention to the prevalence of commercialism and the strangeness of publicity speech, showing it out of context, in a "real" setting. To emphasize the scriptedness and one-dimensionalism of the public interaction in this scene, Godard saturates the scene with various strong colors, either through lights or a filter on the camera. 1545: 1510: 1494: 1359: 734:'s original noir-like storyline led him to achieve "new heights of spontaneity and lightning invention" on the film, resulting in the film's pop art aesthetic. Volker Panteburg writes that the film demonstrates Godard's interest in color and the "explosive power of images" just as much as story, citing the final scene where Ferdinand paints his face " 690:
image. Lorenz Engell claims that this third image is, to Godard, characterized by its reality and objectivity, and causes the "chains of images" to "fly apart". 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."
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Ferdinand believes that he will be able to accomplish his dream of writing a novel about "life itself. What lies in between people: space, sound, and color", by isolating himself on an island with Marianne, a dream dispelled by Marianne's boredom on the island. Brody writes that this mirrors Godard's
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continues a tradition of Godard directing attention to the arts. Richard Brody draws a parallel between Ferdinand's "vast, cosmic, quasi-metaphysical artistic dreams" and Godard's "own search for another kind of cinematic art, one that goes beyond the visual presentation of objects and characters" to
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writes that since Marianne is inextricably bound to Ferdinand's great artistic ambitions, her betrayal "not only breaks Ferdinand's heart but also destroys what was to be his life's work." Brody notes that this change in the story's themes and effect mirrored Godard's failing marriage to Karina, who
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Ferdinand Griffon is unhappily married and has been recently fired from his job at a TV broadcasting company. After attending a mindless party full of shallow discussions in Paris, he feels a need to escape and decides to run away with ex-girlfriend Marianne Renoir, leaving his wife and children and
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by looking into the camera. It also includes startling editing choices; for example, when Ferdinand throws a cake at a woman in the party scene, Godard cuts to an exploding firework just as it hits her. In many cases, Godard, rather than a seamless cut between two shots, inserts a third, unrelated
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while she searches for him everywhere until she finds him. After their eventual reunion, Marianne uses Ferdinand to get a suitcase full of money before running away with her real boyfriend, Fred, to whom she had previously referred as her brother. Ferdinand shoots Marianne and Fred, then paints his
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prominently utilizes text, often pre-existing, to comment on its own story and ideas, isolating and highlighting the extradiegetic information that is normally semiconsciously absorbed. For instance, just before their first major confrontation with the OAS, Ferdinand and Marianne walk past a sign
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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. Although the film preserved the book's basic plot outline of a middle-aged advertising man running away with and
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Godard uses the film to draw attention to advertising's tendency to sexualize women. In the aforementioned party, women are portrayed both clothed and topless. In an earlier scene, Ferdinand observes an advertisement for a girdle and comments in a voice-over that after the civilizations of
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is about a French painter who has been working alone for years on a portrait of a woman that he believes will usher in new era of art. When his two friends believe it to be a mess, he kills himself. Brody finds a similarity between
812:, and Godard's personal life in the "self-portrait of the artist on the verge of pushing a philosophical inquiry into form, or rather formlessness, to an extreme that destroyed not only himself but also his wife." 525:, which he described as “the story of a guy who leaves his family to follow a girl much younger than he is. She is in cahoots with slightly shady people, and it leads to a series of adventures.” Godard told 637:
Godard initially panicked one week before production was to begin, realizing that many of his original ideas for the film were of little use to him. The shooting took place over two months, starting in the
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on August 29, 1965, where some audience members initially responded by booing it. The film later opened in France on November 5, and was unsuccessful at the box office, with about 1,310,579 admissions.
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In the film, the male lead, Ferdinand Griffon, is a failed intellectual with literary ambitions who tries to fulfill his artistic desire after falling in love with Marianne, the female lead. Critic
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face blue and decides to blow himself up by tying sticks of red and yellow dynamite to his head. He regrets this at the last second and tries to extinguish the fuse, but he fails and is blown up.
361:, but was not accepted as a nominee. It received critical acclaim with praise towards the film's narrative style, Belmondo's and Karina's performances, Godard's direction and the cinematography. 397:
A dwarf, who is one of the gangsters, kidnaps Marianne. She kills him with a pair of scissors. Ferdinand finds him murdered and is caught and bludgeoned by two of his accomplices, who
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obsessing over his children's teenaged babysitter before ultimately killing her, Godard aimed to turn the film into "something completely different", as he told Belmondo.
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belief that "The glory of nature and a life of shared purpose with a beloved woman are... a natural pair", and how this belief was affected by his divorce of Karina.
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a higher, purer presentation of ideas. He points to the film's first scene, in which Ferdinand sits in his bathtub and reads a passage from the art critic
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in the dead man's car. They lead an unorthodox life, always on the run, pursued by the police and by the OAS gangsters. When they settle down in the
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It was the 15th-highest grossing film of the year, with a total of 1,310,580 admissions in France. The film was selected as the French entry for the
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in the role of Ferdinand. The casting of Belmondo made financing for the film easier to obtain due to his star status after his role in Godard's
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poll, it was ranked the 42nd-greatest film ever made in the critics' poll and 91st in the directors' poll. In 2018, the film ranked 74th on the
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on Blu-ray in September 2008. It was one of its first titles released on Blu-ray before being discontinued after Criterion lost the rights to
3022: 2002: 3563: 3513: 2364: 1720: 394:, their relationship becomes strained. Ferdinand reads books, philosophizes, and writes a diary. They spend a few days on a desert island. 789:
After the film's release, Godard claimed in making the film, he was attempting "to convey the sense of what Balthazar Claës was doing in
3493: 1744: 714:. Critic Richard Brody writes that the aesthetics of Godard's previous films had been based around intellectual modernism, such as in 648: 47: 582:
kind of couple" that he originally envisioned, he now "wanted to tell the story of the last romantic couple, the last descendants of
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lifestyle. Following Marianne into her apartment and finding a corpse, Ferdinand soon discovers that Marianne is being chased by
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after burning the dead man's car (which had been full of money, unbeknownst to Marianne) and sinking a second car into the
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served as backdrop for the film's denouement, photography for which included footage of the storied French battleship
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praised the film, stating "There is one thing of which I am sure... art today is Jean-Luc Godard." Writing in 1969,
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him to make him reveal Marianne's whereabouts. Marianne escapes, and she and Ferdinand are separated. He settles in
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featured in many of his works. Karina and Godard divorced in early 1965, before production on the film had begun.
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was an uncredited assistant director on the movie (and also appears briefly as a young man in a movie theater).
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alongside him and shoot the film in English to accommodate Burton. Otherwise, if he cast his second choice,
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that whomever he would cast as the female lead depended on who he cast as the male lead. Had he cast
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that casting Belmondo and Karina ultimately changed the tone of the film, as "instead of the
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in the role, fearing that Piccoli and Karina would form too "normal" a couple on screen.
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is the most beautiful film I've seen in my life", while in a front-page review for
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Godard--France's Brilliant Misfit Ardagh, John. Los Angeles Times 17 Apr 1966: b8.
726:(1960). According to Brody that Godard's political anger at the escalation of the 378:
gangsters, two of whom they barely escape. Marianne and Ferdinand, whom she calls
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List of French submissions for the Academy Award for Best Foreign Language Film
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List of submissions to the 38th Academy Awards for Best Foreign Language Film
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poll, it was ranked the 84th-greatest film ever made in the critics' poll.
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movement, making constant disjunctive references to various elements of
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Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
916:"the kind of last film a director can make only once in his career." 833: 710:
and employs an intentionally garish visual aesthetic based on bright
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Despite the boos at Venice, the film received positive reviews. In
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ed. David Wills, Cambridge University Press, 2000 (first 20 pages)
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and finishing in Paris (in reverse order from the edited movie).
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Pantenburg, Volker. “The Camera as Brush—Film and Painting.” In
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blue" and kills himself with "Pop Art red sticks of dynamite."
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The film has many of the characteristics of the then dominant
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is arguably Jean-Luc Godard's quintessential work." In the
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that was driven into the water and sunk was Godard's own.
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Everything Is Cinema: The Working Life of Jean-Luc Godard
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Trailer of the Film That Will Never Exist: "Phony Wars"
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Vartan and Piccoli proved unavailable, so Godard cast
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with a warning about a harbor-front drop that reads "
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Letter in Motion to Gilles Jacob and Thierry Frémaux
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Pierrot le fou Blu-ray Release Date October 6, 2020
1286:"Criterion September BDs: Pierrot le Fou, Monterey" 1087:"Pierrot le fou: Self-Portrait in a Shattered Lens" 668:as the American film director in the party scene. 273: 261: 244: 236: 226: 187: 179: 165: 155: 147: 137: 101: 91: 74: 66: 56: 39: 1552:Pierrot le fou: Self-Portrait in a Shattered Lens 535:, his first choice, he would have cast his wife 762: 625: 1235:"Pop Cinema: Jean-Luc Godard's Pierrot le fou" 1211:"Pop Cinema: Jean-Luc Godard's Pierrot le fou" 1027: 1025: 894:wrote “I feel no embarrassment declaring that 824:Godard explores consumerism and mass media in 2821: 2256: 1581: 8: 2021:"Anticipation, ou: l'amour en l'an 2000" in 543:, he would cast "a very young girl" such as 741:As in many pop art works, such as those of 2828: 2814: 2806: 2263: 2249: 2241: 1616: 1588: 1574: 1566: 1543: 1508: 1492: 1357: 45: 36: 3549:French avant-garde and experimental films 1440:"The 100 Greatest Foreign Language Films" 183:SociĂ©tĂ© Nouvelle de CinĂ©matographie (SNC) 3499:1960s avant-garde and experimental films 1197:, 84. Amsterdam University Press, 2015. 1110: 1108: 1106: 864:The Criterion Collection first released 1376:"The Top 50 Greatest Films of All Time" 1009: 986: 1033:"Pierrot le fou (1965) – JPBox-Office" 419:as Ferdinand Griffon, a.k.a. "Pierrot" 326:. The film is based on the 1962 novel 3023:The Discreet Charm of the Bourgeoisie 2005:Les plus belles escroqueries du monde 1745:One Plus One (Sympathy for the Devil) 1256: 1254: 1205: 1203: 292: 7: 2365:The Chronicle of Anna Magdalena Bach 1721:Two or Three Things I Know About Her 1189: 1187: 1185: 1150: 1148: 1138: 1136: 1080: 1078: 1076: 1074: 1072: 1070: 1068: 1066: 1064: 1062: 1873:JLG/JLG – Self-Portrait in December 1130:Henry Holt and Company, 13 May 2008 993:Actually a character from Balzac's 560:(1960). 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1673:Bande Ă  part 1671: 1663: 1655: 1647: 1641:Vivre sa vie 1639: 1631: 1623: 1551: 1535: 1527: 1516: 1500: 1483: 1460: 1448:. 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Retrieved 1036: 1012: 989: 974: 968: 945: 935: 928: 918: 913: 906:Louis Aragon 899: 895: 885: 883: 865: 863: 848: 847: 830: 825: 823: 814: 809: 805: 800: 790: 788: 774: 773: 767: 763: 751: 746: 740: 731: 722: 715: 704:mass culture 697: 682: 680: 654:Ford Galaxie 647: 636: 630: 626: 611: 607: 595: 589: 583: 577: 571: 565: 555: 549: 526: 522: 518:Bande Ă  part 517: 514: 471:LĂĄszlĂł SzabĂł 441:Roger Dutoit 396: 368: 352: 341: 335: 332:Lionel White 327: 284: 283: 282: 228:Running time 124:Roger Dutoit 86:Lionel White 78: 3309:Joyeux NoĂ«l 3162:La Lectrice 3063:Madame Rosa 2705:Las Acacias 2629:The Warrior 2552:On the Wire 2523:Terrorizers 2491:Sans Soleil 2373:L'Amour fou 2301:L'Avventura 2285:Tokyo Story 2216:Redoubtable 1996:Ro.Go.Pa.G. 1985:"Sloth" in 1729:La Chinoise 1606:Filmography 1290:Blu-ray.com 1239:www.nga.gov 1215:www.nga.gov 870:StudioCanal 820:Consumerism 728:Vietnam War 687:fourth wall 652:. The 1962 537:Anna Karina 528:France-Soir 489:Henri Attal 423:Anna Karina 324:Anna Karina 318:, starring 309:crime drama 265:$ 300,000 ( 232:110 minutes 114:Anna Karina 92:Produced by 57:Directed by 3484:1965 films 3478:Categories 3445:Saint Omer 3325:Persepolis 3301:The Chorus 3293:Bon Voyage 3210:Wild Reeds 3146:Betty Blue 3122:Entre Nous 3047:India Song 2777:Playground 2675:Persepolis 2613:Ratcatcher 2537:Pathfinder 2088:Meetin' WA 1777:Number Two 1689:Alphaville 1625:Breathless 1450:10 January 1318:2020-07-20 1271:2023-02-07 1244:2023-01-12 1220:2019-11-24 1096:2023-01-12 1004:References 780:Élie Faure 736:Yves Klein 723:Breathless 662:Sam Fuller 579:La chienne 557:Breathless 506:Production 485:as Staquet 455:as himself 447:Hans Meyer 399:waterboard 337:Alphaville 290:pronounced 274:Box office 215:1965-11-05 200:1965-08-29 167:Production 82:1962 novel 3429:Two of Us 3341:A Prophet 3333:The Class 3250:East/West 3194:Indochine 3098:1981–2000 2927:1961–1980 2916:La VĂ©ritĂ© 2852:1948–1960 2769:Atlantics 2753:The Wound 2737:The Witch 2729:The Tribe 2698:The Arbor 2653:Tarnation 2605:The Apple 2459:The Falls 2405:Pirosmani 2184:Paparazzi 1936:Short and 1825:King Lear 1817:DĂ©tective 1809:Hail Mary 975:Obsession 890:, critic 880:Reception 732:Obsession 649:Jean Bart 523:Obsession 372:bourgeois 328:Obsession 245:Languages 148:Edited by 79:Obsession 3226:Ridicule 3202:Germinal 3186:Van Gogh 3007:Hoa-Binh 2900:My Uncle 2884:Gervaise 2839:for the 2667:Red Road 2515:Comrades 2451:The Herd 2309:Il Posto 2208:One P.M. 1737:Week-end 1665:Contempt 1506:AllMovie 1295:14 March 1174:14 March 1042:14 March 969:The Hair 952:See also 923:website 758:Artistry 708:cartoons 306:romantic 156:Music by 102:Starring 75:Based on 3389:Mustang 3285:8 Women 3234:Western 2721:Ilo Ilo 2637:Carnage 2176:Related 1938:segment 1793:Passion 1613:Feature 1520:at the 1351:9 April 919:On the 912:called 844:Release 700:pop art 621:Filming 604:Writing 591:Werther 380:Pierrot 357:at the 254:English 237:Country 213: ( 198: ( 169:company 3464:(2024) 3456:(2023) 3448:(2022) 3440:(2021) 3437:Titane 3432:(2020) 3424:(2019) 3416:(2018) 3408:(2017) 3400:(2016) 3392:(2015) 3384:(2014) 3376:(2013) 3373:Renoir 3368:(2012) 3360:(2011) 3352:(2010) 3344:(2009) 3336:(2008) 3328:(2007) 3320:(2006) 3312:(2005) 3304:(2004) 3296:(2003) 3288:(2002) 3280:(2001) 3277:AmĂ©lie 3261:(2000) 3253:(1999) 3245:(1998) 3237:(1997) 3229:(1996) 3221:(1995) 3213:(1994) 3205:(1993) 3197:(1992) 3189:(1991) 3181:(1990) 3173:(1989) 3165:(1988) 3157:(1987) 3149:(1986) 3141:(1985) 3133:(1984) 3125:(1983) 3117:(1982) 3109:(1981) 3090:(1980) 3082:(1979) 3074:(1978) 3066:(1977) 3058:(1976) 3050:(1975) 3042:(1974) 3034:(1973) 3026:(1972) 3018:(1971) 3010:(1970) 3002:(1969) 2994:(1968) 2986:(1967) 2978:(1966) 2970:(1965) 2962:(1964) 2954:(1963) 2946:(1962) 2938:(1961) 2919:(1960) 2911:(1959) 2903:(1958) 2895:(1957) 2887:(1956) 2879:(1952) 2871:(1950) 2863:(1948) 2796:(2023) 2788:(2022) 2780:(2021) 2772:(2019) 2764:(2018) 2756:(2017) 2748:(2016) 2740:(2015) 2732:(2014) 2724:(2013) 2716:(2012) 2708:(2011) 2700:(2010) 2694:(2009) 2686:(2008) 2683:Tulpan 2678:(2007) 2670:(2006) 2662:(2005) 2656:(2004) 2648:(2003) 2640:(2002) 2632:(2001) 2624:(2000) 2616:(1999) 2608:(1998) 2600:(1997) 2592:(1996) 2586:(1995) 2578:(1994) 2570:(1993) 2562:(1992) 2554:(1991) 2548:(1990) 2540:(1989) 2532:(1987) 2529:Yeelen 2518:(1986) 2510:(1985) 2502:(1984) 2494:(1983) 2486:(1982) 2478:(1981) 2470:(1980) 2462:(1980) 2454:(1979) 2446:(1978) 2440:(1977) 2432:(1976) 2424:(1975) 2416:(1974) 2413:Martha 2408:(1973) 2400:(1972) 2392:(1971) 2384:(1970) 2376:(1969) 2368:(1968) 2360:(1967) 2352:(1966) 2344:(1965) 2336:(1964) 2333:Hamlet 2328:(1963) 2325:Muriel 2320:(1962) 2312:(1961) 2304:(1960) 2296:(1959) 2288:(1958) 2168:(2023) 2160:(2014) 2152:(2014) 2143:(2013) 2134:(2010) 2126:(2002) 2117:(1998) 2109:(1988) 2100:(1987) 2091:(1986) 2083:(1985) 2075:(1982) 2060:(1976) 2052:(1972) 2044:(1969) 2035:(1967) 2026:(1965) 2017:(1964) 2008:(1963) 1999:(1962) 1990:(1962) 1981:(1958) 1973:(1958) 1965:(1957) 1957:(1955) 1949:(1955) 1924:(2018) 1916:(2014) 1908:(2010) 1900:(2004) 1892:(2001) 1884:(1996) 1876:(1995) 1868:(1993) 1860:(1993) 1852:(1991) 1844:(1990) 1836:(1987) 1828:(1987) 1820:(1985) 1812:(1985) 1804:(1983) 1796:(1982) 1788:(1980) 1780:(1975) 1772:(1972) 1764:(1969) 1756:(1969) 1748:(1968) 1740:(1967) 1732:(1967) 1724:(1967) 1716:(1966) 1708:(1966) 1700:(1965) 1692:(1965) 1684:(1964) 1676:(1964) 1668:(1963) 1660:(1963) 1652:(1963) 1644:(1962) 1636:(1961) 1628:(1960) 1491:  1396:6 June 1165:  971:(film) 834:Athens 797:Balzac 664:has a 644:Toulon 594:, and 573:Lolita 403:Toulon 299:French 262:Budget 251:French 240:France 206:Venice 204: ( 2691:Ajami 2645:Osama 2567:Vacas 2559:Proof 982:Notes 977:novel 666:cameo 3397:Elle 3106:Diva 2843:for 2785:1976 2761:Girl 2140:3X3D 2097:Aria 1489:IMDb 1452:2021 1398:2013 1353:2017 1297:2016 1176:2016 1163:ISBN 1044:2016 933:2012 836:and 410:Cast 365:Plot 340:and 322:and 312:road 267:est. 2745:Raw 1559:at 1539:at 1504:at 1487:at 942:BBC 782:on 576:or 376:OAS 348:OAS 330:by 84:by 3480:: 2526:/ 1442:. 1420:. 1414:. 1378:. 1344:. 1338:. 1288:. 1264:. 1253:^ 1237:. 1213:. 1202:^ 1184:^ 1161:. 1147:^ 1135:^ 1105:^ 1089:. 1061:^ 1035:. 1024:^ 876:. 808:, 786:. 745:, 599:." 588:, 297:, 2829:e 2822:t 2815:v 2264:e 2257:t 2250:v 1589:e 1582:t 1575:v 1468:. 1454:. 1400:. 1355:. 1336:" 1332:" 1299:. 1274:. 1247:. 1223:. 1178:. 1099:. 1046:. 997:. 288:( 269:) 217:) 208:) 202:) 34:. 20:)

Index

Pierrot le fou
Fierrot le pou

Jean-Luc Godard
Lionel White
Georges de Beauregard
Jean-Paul Belmondo
Anna Karina
Graziella Galvani
Roger Dutoit
Samuel Fuller
Raoul Coutard
Antoine Duhamel
Venice
[pjɛʁoləfu]
French
French New Wave
romantic
crime drama
road
Jean-Luc Godard
Jean-Paul Belmondo
Anna Karina
Lionel White
Alphaville
Masculin, féminin
OAS
Best Foreign Language Film
38th Academy Awards
bourgeois

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