"It's one of Pierrot's unique charms that Godard doesn't regard Ferdinand and Marianne's situation with emphatic mockery or inordinate reverence." - Eric Henderson

Probably one of the best Godard's movie and still watchable but except some very poetical sequences (eg Rimbaud's quotation at the very end on the slow travelling on the sea, the slow wandering of the "hero") and Belmondo's prestation, it became really outdated. What's not a surprise given that it focused mainly on disregarding the cinematographic codes into effect (or claimed to be...) at that time and taking pleasure in criticizing consumption society.

Very dull. I tried twice and still couldn't finish it.

1 eylul 10, cesme & filmi goruntu kalitesine bakmak icin actim fakat cakilip kaldim, sonuna kadar izledim. godard'in siirsel ve alisilmadik hikaye anlatimi, belmondo ile karina'nin kimyasi harika! sinemayi neden sevdigimi hatirlatan ve icimdeki uretme istegini korukleyen, mukemmel bir deneyim.

Godard manipulates the experience of Belmondo and Karina by orchestrating it as an alternately farcical and fierce re-arrangement of established genre standards, thus forming one of cinema's most quintessential fatal romances. This swell of passion - Godard's eulogizing of his his fractured relationship and America's foregone principles - turn Pierrot le fou into something more inclusive than socio-political rhetoric: a great movie.

I'm not sure I "get" it, but it sure is good.

Saw this later than late one night on TV and although the story escaped me (its Godard, so... who cares about plot, really?) what lingers is just how beautifully shot the movie was and how good it looked.

"My name is Ferdinand!" I appreciate this film a billion times more since my first viewing at 16. Could be easily ridden off as pretentious postmodernism, but one cannot go into a Godard like a conventional movie; it is a deconstructed joy ride. Aesthetically, Pierrot is charming and stylistic - the rich color pallet and fresh perspective in each shot sings like visual French poetry. It's obvious how absolutely mesmerized Godard was by Anna Karina, showing her off in the loveliest way.

Perhaps this is a little more 'artsy' than the critics will admit, and nowadays some of the jokes and set pieces seem gimmicky, but this film is nonetheless full of charm and class, and thoroughly deserves at least one viewing. A classic in the purest sense of the word, and full of interesting, funny characters. The final speech is sublime too.

Whilst the storyline wasn't here nor there, the brashness and youthful spirit of its creation made this fact highly irrelevant. Goddard's ambition to color the world with his wonderful post-modern pallete, embrace the irrational chaos of our existence and escape mundanity make this ever so memorable. Not only does this celebrate life, but it doesn't run away from death or pain, it accepts, and celebrates each on their own terms. Vivid poetry for the eyes.

I seem to have something with Godard films where I'm really intrigued and enthralled for the first 20-25 minutes, but then it starts to repeat itself somewhat and I start to get bored. Pierrot is definitely one of the best Godards I've seen, but it also suffers from this somewhat. There's only so many vague smug slogans one can put up with, y'know? Anyway it was very pretty and funny but I wasn't completely entertained (still enough to give it 88, though!)

A movie that could have been a masterpiece, if was only containing more repeating lines in rhymes.

"Je ne m'appelle pas Pierrot, je m'appelle Ferdinand."

Though I am not much for most of Godard, this film definitely intrigued me more than his others. Though it contains what you would expect (breaking of narrative conventions, pop-culture references, de-dramatised structure) what is really interesting is both the characters AND the film try to get out of genre quickly and really tackle some big questions by refusing to participate in the demands of standard movies. Really interesting, and certainly deserves a watch

A vibrant, colorful film filled with exciting visuals, humor, playful musical sequences and bursts of violence.

With Pierrot Le Fou, Godard mashes together nearly every genre of film short of horror concealed under a romantic tragedy, which in end adds a sort of meta-communicative self-awareness to the film (not unlike that of Contempt). The couple in which film is centered around live an entirely unsteady and turbulent lifestyle. However the ups and downs they endure seem to be less a result of a mutual effect on each other than the mere realization of the inequitable nature of life.

Some lovely scenes and a color scheme to die for. Tiresome, boring and pretentious a lot of the time but with sparks of pure joy.