Words from Jean-Luc Godard and Anna Karina on Pierrot le fou
After a brief presentation of Luis Buñuel's Simon of the Desert, Jean-Luc Godard answers Maurice Seveno's questions on the story of Pierrot le fou, the painting theme brought up in the film and his provocative side. Anna Karina then speaks about her role in the film.
In 1965, Jean-Luc Godard, a former critic at Cahiers du Cinéma magazine born in 1930, released his second film of the year and his tenth feature-length film in seven years. Pierrot le fou was shot with Anna Karina, the filmmaker's companion, with whom he already shot five films including Band of Outsiders and Alphaville in 1964 and 1965. The other star is Jean-Paul Belmondo, who Godard brought to the masses in 1959's Breathless and who was re-employed, along with Karina, in 1961's A Woman Is a Woman.
Pierrot le fou remains one of the most dazzling films of the French New Wave. Plots as pretexts, intuitive continuity, provocative quotes, disconcerting soundtrack: the whole thing, wonderfully filmed - in coulour - by chief cinematographer Raoul Coutard, can be seen as poetic Godardian art. The agitated response to the film didn't keep it from reaching the status of cult film over the years.
Godard pursued his career by soon turning to didactic, political and anti-commercial cinema before becoming greatly interested in video and in television at the end of the 1970s.