I don't know where to begin. Breathless, the previous Godard film that I watched, is a walk in the park compared to this. Parts of this seem almost like the New Wave version of a wacky '60s comedy, but other parts are just strange for no apparent reason. I don't mind sacrificing story for art, usually, but here the art wasn't really satisfying or interesting. As such, the only times I really liked the film was when it furthered the narrative, or at least pretended to tell a story. It's got a really bizarre sense of humour, too, and some of the shots are starkly stunning. It's really a very colourful film; I loved the scene in the car near the beginning (the one that inspired Sin City). My initial reaction was definitely mixed, though.

I don't think this is on dvd in the US yet, (though apparently, Criterion's got their hands on it :up:.) I really wanna see it...sounds straight down my street.

My new favorite film by J.L.G. is finally on dvd and I finally get to watch it. I couldn't be more thrilled.

The film, made the same year as his alien-world noir Alphaville, stars Jean Paul Belmondo (Breathless) and Anna Karina (Every other JLG film ever made) as a couple on the run. He's significantly older than she, and both are sick of the city. They drive and boat and swim across the country and finally make it to a coastal town where they're supposed to be happy.

In typical Godard fashion, Crazy Pete (as it's called in American) can be described as Cinema le Fou. Cuz a lot of crazy stuff happens in this film. The film ends with Pierrot (My name is Ferdinand!) wrapping his head in red and yellow plastic strips of dynamite and then lighting the fuse. He drives his convertible (bright blue with red interior) into the ocean because Marianne (Karina) makes fun of his "driving down a straight line". Pierrot addresses the camera; Marianne turns, curiously, before asking who he's talking to. "The audience", he replies. Classical music floods the speakers, only to be turned off to the sound of silence, for no apparent reason. Once, Pierrot answers a question in the voice of Michel Simon. "I've got an idea for a novel. Not to write about people's lives, anymore, but only about life -- itself. What lies in between people: space, sound and color. I wish I could accomplish that." This man is old and frail, missing all of his lower teeth and perhaps part of his tongue. He gasps between words, panting and wheezing trying to make his point. The whole time, staring at the camera, talking to the viewer. Later Pierrot paints his face completely blue. After arriving in a small town, a bunch of its citizens tell the audience, one by one, speaking to the camera again, about their lives and work.

These things are mostly normal and to be expected of Godard, but here, each technique is fresh like the first day of summer. Spring.

In a particularly famous part of the film, Pierrot decides to start writing a journal. While he writes, Marianne begins to walk up and down the beach, crying "I don't know what to do. What should I do." "Nothing," Godard mocks, as she disappears from screen.

Though maybe not as off-putting as Weekend and certainly Godard never declares "The End...of Cinema," to call Pierrot Le Fou anything but the pinnacle of French film circa 1965 would be to disserve the film's far reaching power and beauty.

[Is this film in the same group as Suspiria in visuals?]

There's a ton of yellow, blue, red and white in this film. Very PLASTIC colors and textures. The dynamite he uses at the end looks like a string of ketchup and mustard bottles. Godard corrects someone in an interview who mentions there is a lot of blood by telling them "No, red." Because it is...it's clearly not blood...more like paint; something watery, thinnish, but incredibly bright. Garish.

I dunno that I'd put it on Suspiria's level in terms of pure visual style, but aesthetically, some of the words and shots and ideas and situations are just as memorable and awesome. There's nothing like those deep purples and blues, those gel lit/LED reflected/stained glass window moody colors, but yknow. Still remarkable.

There are a lot of pretty shots in this movie, too. I really loved it.

Awesome.

I was definitely too harsh on this film the first time around. It's grown on me over time. Though I'd rank it fourth as far as Godard goes (after Contempt, Breathless and Week End), it's definitely right up there. I will watch it again soon.

ugh, I hate that you loved this.

The problem is that everybody who sees this loves it. You need to flock to something more John Savage-proof. Two or Three Things I Know About Her therefore might be the better option.

"I'm glad I don't like spinach, because if I did then I would eat it, and I can't stand the stuff."

i lol'd