Pierrot le fou (1965, Jean-Luc Godard)

This is now the most recent Godard film I’ve seen up until Notre Musique 40 years later. Wow. Came out the same year as Masculin Feminin AND Alphaville. Same year as Simon Of The Desert. Right after Umbrellas of Cherbourg, The Soft Skin and The Naked Kiss… and before Blow-Up, Balthazar, The War Is Over, The Nun and Tokyo Drifter.

Unfortunately, I didn’t write about this right after seeing it. Now it’s almost a month later, and I remember nothing but a mash of genres, a funny musical scene, some low-key crime and body disposal, a parrot, a funny Samuel Fuller cameo, and a bunch of too-cool people on an adventure. I think in the end, Pierrot shoots the girl and blows himself up. I liked the movie better than Jimmy and Katy did.

I missed Jean-Pierre Léaud in the cinema scene. Anna Karina (of The Nun and a buncha other 60’s Godard films) and Jean-Paul Belmondo (of Breathless, A Woman is a Woman, Magnet of Doom, Le Voleur and Stavisky) star.

Janus Films’ description: “After abandoning his wife at a Parisian party, bored Ferdinand (Jean-Paul Belmondo) flees his bourgeois existence with his babysitter and ex-lover, Marianne (Anna Karina). Taking it on the lam to the south of France, the couple becomes an existential Bonnie and Clyde, battling gunrunners, gas station attendants, and American tourists as they come face to face with their own roles as characters in a pop-cultural landscape. A profound turning point in Godard’s cinema, Pierrot le fou recalls the gangster cool of Breathless and Band of Outsiders while also pointing towards the increasingly essayistic, apocalyptic visions of Two or Three Things I Know About Her and Weekend.”

“I saw Pierrot le fou by chance … I decided to make movies the same night.” – Chantal Akerman