Out of the Audience

Pierrot Le Fou (1965)

To pigeonhole Pierrot Le Fou simply as a romance is to lose the very charm that it exhibits. Arguably Jean Luc Goddard's film of most notoriety, it is the director's skilful manipulation of sentimentality that secures this. Inserted in moderation, the film does not get lost in grand notions about love, and this sets it resolutely within reality. This does not, however, necessitate that the film is ordinary by any standards; quite the opposite. Tying up a plot with action, the lead couple are placed into the throws of criminal masterminds to comic effect. The dark humour that laces Marianne and Ferdinand's adventures perfectly compliments a romantic relationship that transcends conventionality.

While creating a playful portrayal of two engaging characters, Goddard simultaneously explores further topics. He does so with a level of subtlety that means his ideas do not overwhelm the light heartedness of the film. Gender roles are playfully redefined with the creation of a beautifully defiant antiheroine. Wonderfully depicted by Anna Karina, whose charisma shines through, binding the character of Marianne as one that will remain with you long after the film's close.

Moving through a series of idyllic settings, the script is unpredictable other than its continual captivation. Transpiring at a pace that fluctuates, there is space to breathe at the same point as maintaining suspense to match its wit. Pierrot Le Fou is one of those joyous cinematic endeavours that ends up being a pleasure to turn to time and time again. For me, it acts as the perfect way to clear the cobwebs and get inspiration flowing once more, with a decided injection of creativity.