Pierrot le Fou - Jean-Luc Godard notes
"Pierrot Le Fou" marked the beginning of Godard's current period. Before it came the black-and-white films -- cool, quick and austere, with an emphasis on interpersonal relationships. After it came the Godard of color, wide screen and an increasing preoccupation with politics, American culture, violence, Vietnam and movies. (All of Godard's films since "Pierrot le Fou" have essentially been movies about themselves -- a statement hard to explain unless you've seen them).
https://www.rogerebert.com/reviews/pierrot-le-fou-1966
"by the time he started shooting Pierrot le fou, the film noir conventions underlying its source novel, Lionel White’s Obsession, on longer interested him. Instead, the rapidly escalating war in Vietnam, the break up of his marriage to Anna Karina, and his own self-doubt concerning the value of what he had achieved, spurred Godard on to new heights of creative originality. He said that, in making Pierrot le fou, he felt as if he were making his ‘first film’; tearing up the old road map and setting out for unknown territory."
"the film now looks like Godard’s fond farewell to the first part of his career, a last madcap romantic escapade before engaging with more serious concerns. It is also a farewell to Karina, and in a way a resigned acknowledgement that they were never meant to be together. Although Marianne betrays Ferdinand there is no malice in her portrayal, and in the final voice-over the suggestion that perhaps they are together in eternity."
http://www.newwavefilm.com/french-new-wave-encyclopedia/pierrot-le-fou.shtml
Film Synopsis:It seems to be a gangster picture: Jean-Paul Belmondo leaves his wife and goes to live with his former girlfriend, Anna Karina. She has apparently killed a man. They go on the lam in a stolen car, wind up on a deserted island, play the Robinson Crusoe bit for awhile, and then go back to the mainland to face the music (as Edward G. Robinson might have put it).
"Pierrot Le Fou" marked the beginning of Godard's current period. Before it came the black-and-white films -- cool, quick and austere, with an emphasis on interpersonal relationships. After it came the Godard of color, wide screen and an increasing preoccupation with politics, American culture, violence, Vietnam and movies. (All of Godard's films since "Pierrot le Fou" have essentially been movies about themselves -- a statement hard to explain unless you've seen them).https://www.rogerebert.com/reviews/pierrot-le-fou-1966
"by the time he started shooting Pierrot le fou, the film noir conventions underlying its source novel, Lionel White’s Obsession, on longer interested him. Instead, the rapidly escalating war in Vietnam, the break up of his marriage to Anna Karina, and his own self-doubt concerning the value of what he had achieved, spurred Godard on to new heights of creative originality. He said that, in making Pierrot le fou, he felt as if he were making his ‘first film’; tearing up the old road map and setting out for unknown territory."
"the film now looks like Godard’s fond farewell to the first part of his career, a last madcap romantic escapade before engaging with more serious concerns. It is also a farewell to Karina, and in a way a resigned acknowledgement that they were never meant to be together. Although Marianne betrays Ferdinand there is no malice in her portrayal, and in the final voice-over the suggestion that perhaps they are together in eternity."
http://www.newwavefilm.com/french-new-wave-encyclopedia/pierrot-le-fou.shtml
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