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Summary: Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run. (imdb)
An innovative film, yes. Stylish, yes. But it's also filled with pseudo-philosophical hipster nonsense that is so pretentious it nearly made me physically ill. Bunuel is satisfied with leaving humorous paradoxes just that, Tarantino can reference his favorite artists nonstop without thinking it makes him a genius, but Godard insists on making everything revolutionary and life changing, and doesn't have the writing skill to pull it off.
An almost unendurable exercise in surrealism and pretentiousness, Godard's abstract and deliberately opaque "Pierrot le fou" is a self-indulgent and sleep-inducing masturbation session with no point or entertainment value. I don't care what Godard is trying to say, because he doesn't care to make it accessible for me. He even fails to make it interesting. Sure, there are the meager joys (a dead dwarf) of watching such an epic demonstration of sham intellectualism, but are few and far between.
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.
This is what might've happened if Belmondo's character in Breathless had actually followed through with his plans of escaping to Italy. Pierrot le fou was shot almost entirely without a script, and it shows. It's obvious that Godard, Belmondo and Karina are making everything up as they go. It's funny, often clever and sometimes surprisingly well-structured, but a lot of it is far too silly, cartoony and almost childish for my tastes.