Pierrot le Fou ★★★

Godard's greatest achievement seems to be the way he defies what cinema seemed to be during his time, constantly pushing the bounds of the medium and showing us that movies can be more than leaden Hollywood melodramas (I say this jokingly of course, I'm a fan of this style myself).

In-line with that tradition he continues it here; Pierrot le Fou is the classic road-trip romp starring two gorgeous leads embarking as criminals on the run. Romantic stuff, the fare of countless other films, yet Godard is not here to retell it but to deconstruct this myth.

Namely, when placed in a modern landscape this story does not work. Ferdinand (our "Pierrot" or "fool") and Marianne are both bored and unhappy with their lives, and so they pair up to leave their old lives behind and along the way get that spark back in living.

Except this does not work. Ferdinand ends up retreating back to his bourgeois, highfalutin hobbies and Marianne regrets giving up the fun of urbanity. They're outlaws, on the run, but life is no more fulfilling than it was before, and where they sought excitement they only find boredom and vacuity.

"That's what makes me sad: life is so different from books. I wish it were the same: clear, logical, organized."

Indeed, life is so very different from the novels we read because we are constantly moving forward away from old tales. And along the way Godard intercepts our experience, flashing bright neon signs that interject and interrupt this story. Even when we escape modernity through the characters on the screen we (and they) are unable to truly leave the modern world for the myths we comfort ourselves with.

... but Cowboy Bebop did it better.

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