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Pierrot escapa de la sociedad aburrida y viaja de París al Mar Mediterráneo con Marianne, una niña perseguida por sicarios de Argelia. Llevan una vida poco ortodoxa, siempre a la fuga.Pierrot escapa de la sociedad aburrida y viaja de París al Mar Mediterráneo con Marianne, una niña perseguida por sicarios de Argelia. Llevan una vida poco ortodoxa, siempre a la fuga.Pierrot escapa de la sociedad aburrida y viaja de París al Mar Mediterráneo con Marianne, una niña perseguida por sicarios de Argelia. Llevan una vida poco ortodoxa, siempre a la fuga.
- Nominado a 1 premio BAFTA
- 2 premios y 2 nominaciones en total
Jean-Paul Belmondo
- Ferdinand Griffon dit Pierrot
- (as Jean Paul Belmondo)
Aicha Abadir
- Aicha Abadir
- (sin acreditar)
Henri Attal
- Le premier pompiste
- (sin acreditar)
Pascal Aubier
- Le deuxième frère
- (sin acreditar)
Maurice Auzel
- Le troisième pompiste
- (sin acreditar)
Raymond Devos
- L'homme du port
- (sin acreditar)
Roger Dutoit
- Le gangster
- (sin acreditar)
Samuel Fuller
- Self
- (sin acreditar)
Pierre Hanin
- Le troisième frère
- (sin acreditar)
Jimmy Karoubi
- Le nain
- (sin acreditar)
Jean-Pierre Léaud
- Le jeune homme au cinéma
- (sin acreditar)
Hans Meyer
- Un gangster
- (sin acreditar)
Krista Nell
- Madame Staquet
- (sin acreditar)
Dirk Sanders
- Fred - le frère de Marianne
- (sin acreditar)
Georges Staquet
- Frank
- (sin acreditar)
László Szabó
- L'exilé politique
- (sin acreditar)
Argumento
¿Sabías que...?
- CuriosidadesDespite continual claims that Godard shot the majority of his films without scripts or preparation, actress Anna Karina has subsequently claimed that they were in fact very carefully planned out to the smallest of details, with an almost obsessive level of perfectionism.
- Versiones alternativasOn the French Studio Canal Blu-Ray release, the green tinting is missing in the party scenes near the beginning of the film. It is intact on the American Criterion Collection Blu-Ray release.
- ConexionesEdited into Bande-annonce de 'Pierrot le fou' (1965)
Reseña destacada
Artists are often remembered more for their brasher, earlier work - films, novels, paintings, etc. that pushed the boundaries of their medium to create something bold and unique. Sometimes, though, we ignore the faults of those earlier works, while more mature, more perfect later works are ignored because they lack the visceral shock of the new inherent in the artist's first pieces.
Godard strikes me as an artist of which this occurrence is particularly true. His Breathless ushered in the Nouvelle Vague of French cinema and has long been held as not only a classic, but also his masterpiece. As wonderful and fun as Breathless is, I find it much slighter Godard's later work, most notably Vivre Sa Vie, Le Mepris, Bande A Part, Weekend, and, of course, Pierrot Le Fou.
Breathless represents more technical innovation than anything else. It is a terrific story, but one that lacks the thematic depth of those other films. Godard touches upon the ideologies that will concern him later, but he does not delve into the plight of woman, the pitiful nature of the bourgeoisie, or the nature of film as much as he would in a couple years.
For me, the greatest achievement of Godard is Pierrot Le Fou. In it, he combines comedy, the road picture, extreme pathos, a scathing indictment of Capitalism, and a critique of contemporary society in an unimaginable way. The film moves along, following Ferdinand and Marianne, but any semblance of a normal narrative gets lost along the way. This is, of course, welcome. You do not come to Godard expecting the ordinary.
Though it lacks the photographic beauty of Le Mepris, Pierrot nevertheless represents one of Godard's most brilliant uses of color. The use of color filters in an early scene, reminiscent of Ivan the Terrible II's final scenes, is quite arresting and the overall use of the eastmancolor pallet is gorgeous. This is a very, very colorful film, which is appropriate for such a playful narrative.
The acting is similarly brilliant. Belmondo gives a more nuanced and more demanding performance here than he did in Breathless, and Karina matches him. Like one of the great starlets of the 40s and 50s, she bestows a grace, beauty, and elegance to her scenes. It helps that Godard's camera absolutely adores her (not quite as much, though, as it adored Brigitte Bardot's rear in Le Mepris), but much of what she does in this film derives from her talent rather than Godard's.
Again, though, I must warn that Pierrot is not a film for everyone.
Yes, it's a funny, brilliantly acted, and beautiful film, but it's also Godard, one of the most acquired tastes in the history of cinema.
That said, if you've not seen this film and consider yourself a fan of this director, see it soon - you'll not be disappointed.
Godard strikes me as an artist of which this occurrence is particularly true. His Breathless ushered in the Nouvelle Vague of French cinema and has long been held as not only a classic, but also his masterpiece. As wonderful and fun as Breathless is, I find it much slighter Godard's later work, most notably Vivre Sa Vie, Le Mepris, Bande A Part, Weekend, and, of course, Pierrot Le Fou.
Breathless represents more technical innovation than anything else. It is a terrific story, but one that lacks the thematic depth of those other films. Godard touches upon the ideologies that will concern him later, but he does not delve into the plight of woman, the pitiful nature of the bourgeoisie, or the nature of film as much as he would in a couple years.
For me, the greatest achievement of Godard is Pierrot Le Fou. In it, he combines comedy, the road picture, extreme pathos, a scathing indictment of Capitalism, and a critique of contemporary society in an unimaginable way. The film moves along, following Ferdinand and Marianne, but any semblance of a normal narrative gets lost along the way. This is, of course, welcome. You do not come to Godard expecting the ordinary.
Though it lacks the photographic beauty of Le Mepris, Pierrot nevertheless represents one of Godard's most brilliant uses of color. The use of color filters in an early scene, reminiscent of Ivan the Terrible II's final scenes, is quite arresting and the overall use of the eastmancolor pallet is gorgeous. This is a very, very colorful film, which is appropriate for such a playful narrative.
The acting is similarly brilliant. Belmondo gives a more nuanced and more demanding performance here than he did in Breathless, and Karina matches him. Like one of the great starlets of the 40s and 50s, she bestows a grace, beauty, and elegance to her scenes. It helps that Godard's camera absolutely adores her (not quite as much, though, as it adored Brigitte Bardot's rear in Le Mepris), but much of what she does in this film derives from her talent rather than Godard's.
Again, though, I must warn that Pierrot is not a film for everyone.
Yes, it's a funny, brilliantly acted, and beautiful film, but it's also Godard, one of the most acquired tastes in the history of cinema.
That said, if you've not seen this film and consider yourself a fan of this director, see it soon - you'll not be disappointed.
- jay4stein79-1
- 22 nov 2004
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- How long is Pierrot le Fou?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- Títulos en diferentes países
- Pierrot el boig
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 300.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 87.011 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 7254 US$
- 17 jun 2007
- Recaudación en todo el mundo
- 148.564 US$
- Duración1 hora 50 minutos
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
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What is the Hindi language plot outline for Pierrot, el loco (1965)?
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