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domino harvey wrote:I agree that the film is a sort of "Godard's Greatest Hits" package, in fact I've sold it as such to many people in the past, but I fail to see how that makes it less of a film. To me, it is the greatest of not only Godard's films, but all films.

Wow!

This film hit me like a ton of bricks last night, and I'll need another viewing soon. I do think the Ebert (re)review is startlingly dismissive. (""Pierrot Le Fou" stood at the tipping point between the great early films like "My Life to Live" and later films that were essentially about themselves, or adult children at play.")

Noiretirc wrote:This film hit me like a ton of bricks last night, and I'll need another viewing soon. I do think the Ebert (re)review is startlingly dismissive. (""Pierrot Le Fou" stood at the tipping point between the great early films like "My Life to Live" and later films that were essentially about themselves, or adult children at play.")

I agree with Ebert about this film being about adult children, but I don't share his enthusiasm. He's right that this film has some resemblances to Weekend, but totally wrong that its more light-hearted and less bitter. Ebert is usually pretty sensitive about these things, so I'm surprised he makes no notice of the incredibly childish (and frighteningly violent and personal) animosity toward Anna Karina in this film.

Pierrot never comes together for me -- its an experiment that's interesting in concept, but is so flawed in its execution that it becomes dull and offensive even in its most charming and beautiful moments. Ebert mistakes gutlessness and vacuity for lightheartedness and playfulness. This film has almost none of the vigour and bravery of Weekend, and its not nearly as fun.

Well then, you might want to skip Made in USA altogether if on-screen animosity towards Katrina bothers you

HerrSchreck wrote:Again, I respect those who love the film, and know some of you on this forum as folks who are genuinely obsessed with cinema and wouldn't reflexively like a film because it's canonical or because they think they're "supposed" to. But I'd love to hear some emotional praises sung for the film, a la some of Michael's comments on other films (like 3 Women, or Mala Noche, etc) or Colin's, as opposed to assessements of what he's "doing".

Well, for a start, I once again laughed my ass off during parts of a Godard film. The Vietnam story, and how it was set up, was fantastically funny to me. I'm talking rolling on the floor, in a hysterical fit.

I'm continually surprised at how little I read about the humour of Godard. I think the man invented Monty Python.

Edit: Changing subjects if I may, the "fake accident" scene fascinates and scares me. What is your interpretation of this scene?

I read the scene as a wry wink at the internal functions of road pictures and star-crossed romances to constantly present obstacles for the characters caught within the machinations-- here the characters blatantly create their own self-made obstacle so as to keep the film going

tartarlamb wrote:

Noiretirc wrote:This film hit me like a ton of bricks last night, and I'll need another viewing soon. I do think the Ebert (re)review is startlingly dismissive. (""Pierrot Le Fou" stood at the tipping point between the great early films like "My Life to Live" and later films that were essentially about themselves, or adult children at play.")

I agree with Ebert about this film being about adult children, but I don't share his enthusiasm. He's right that this film has some resemblances to Weekend, but totally wrong that its more light-hearted and less bitter. Ebert is usually pretty sensitive about these things, so I'm surprised he makes no notice of the incredibly childish (and frighteningly violent and personal) animosity toward Anna Karina in this film.

Pierrot never comes together for me -- its an experiment that's interesting in concept, but is so flawed in its execution that it becomes dull and offensive even in its most charming and beautiful moments. Ebert mistakes gutlessness and vacuity for lightheartedness and playfulness. This film has almost none of the vigour and bravery of Weekend, and its not nearly as fun.

I'm due to re-watch 'Weekend' again shortly for the first time in about 30 years or so: I'd be surprised if I'd be agreeing with you that it is more fun than 'Pierrot', but, if it is, then I've a lot to look forward to.

Noiretirc wrote:I'm continually surprised at how little I read about the humour of Godard. I think the man invented Monty Python.

Edit: Changing subjects if I may, the "fake accident" scene fascinates and scares me. What is your interpretation of this scene?

Have you seen Playtime? Or -- back further-- eary Bunuel like L'Age D'Or?

Noiretirc wrote:

HerrSchreck wrote:Again, I respect those who love the film, and know some of you on this forum as folks who are genuinely obsessed with cinema and wouldn't reflexively like a film because it's canonical or because they think they're "supposed" to. But I'd love to hear some emotional praises sung for the film, a la some of Michael's comments on other films (like 3 Women, or Mala Noche, etc) or Colin's, as opposed to assessements of what he's "doing".

Well, for a start, I once again laughed my ass off during parts of a Godard film. The Vietnam story, and how it was set up, was fantastically funny to me. I'm talking rolling on the floor, in a hysterical fit.

I'm continually surprised at how little I read about the humour of Godard. I think the man invented Monty Python.

Edit: Changing subjects if I may, the "fake accident" scene fascinates and scares me. What is your interpretation of this scene?

I've just watched 'Prenom Carmen' for the first time: he certainly showed there that he wasn't averse to sending himself up

Speaking of Tati and Godard sending himself up, the first five minutes of Keep Up Your Right should certainly be Exhibit A

HerrSchreck wrote:Have you seen Playtime? Or -- back further-- eary Bunuel like L'Age D'Or?

Why yes I have! (Famously, in the case of Playtime.) And yes, I see your point. I was exaggerating just a little.

I honestly loved the first 45 minutes or so of Week End and think it stands up to his best work. Once they get to her parents house though, the film completely falls apart to me. I think I have watched the first 45ish minutes as many times as I have rewatched Alphaville, Band of Outsiders, Breathless, and Contempt. It is stunning.

domino harvey wrote:Speaking of Tati and Godard sending himself up, the first five minutes of Keep Up Your Right should certainly be Exhibit A

Keep Your Right Up also has an opening tennis sequence that is just as sublime as that of Pierrot le Fou, albeit in a very different way.

domino harvey wrote:I read the scene as a wry wink at the internal functions of road pictures and star-crossed romances to constantly present obstacles for the characters caught within the machinations-- here the characters blatantly create their own self-made obstacle so as to keep the film going

Thanks, Domino. Please forgive this continued random questioning and fractured commentary from me as I attack and reattack this film....

The bar....2 beers....jukebox....girl dancing.....Ferdinand goes to take a call from Marianne, and on the CC version, the lights fade for a split second. Is this a glitch?

The scenes involving Donovan the dwarf, and the last quarter of this film in fact, contain some of the craziest, most outrageous things I have ever seen or even thought about, or dreamt. It fascinates me that Godard apparantly felt that here he was making his first film, out to sea, unmoored.....what other Director would allow this freedom with himself?

Some in this thread have complained about terrible sound, particularly with "My Fate Line"....but when did a musical ever look and feel like this? How could we expect it to sound like Singin In The Rain?

Sometime around that musical number, they walk from right to left screen, and we see them, tiny, from the waist up, while the camera focusses on the lush, varied trees.....scanning right to left.....I have never seen a more stunningly beautiful shot in film.

This film pulverises me....sometimes I tear up, sometimes I roll on the floor laughing, sometimes I'm completely stumped......

Maybe next week I will be able to quantify it....to enunciate what it all means to me...

Edit: If I could try to enunciate some more....

After the 4th Time Around, I realize that what I admire most about this monumental film is the pacing. Such a perfect rhythm. Not a second is wasted, or out of place. It flows so beautifully within each chapter, and between chapters. It's a seamless Symphony of images. I would have thought that it would take years to make such a film...tinkering and labourious editting and re-editting....

The guy on the pier reminds me of Python, Meaning Of Life, when the camera follows the little Italian man to his childhood home.....both are aproximately penultimate scenes, and both mockingly reflect, er, The Meaning Of Life. "Well, I know it's not much of a story, but...well, fuck you!"

I absolutely adore Pierrot le Fou. I did care about the couple. Their money woes worried me. I was relieved when they met up again. What's all this about we shouldn't care?

Damn, Belmondo is athletic in this film.

You really love this one, huh?

It's glorious to be in love with a film.

Last night I watched Come and See again and am prepared to call it one of the greatest films of all time. Naturally, being in love with such a crazy, depressed, suicidal bitch is bad for me. Pierrot le fou is a far more delightful lover.

knives wrote:You really love this one, huh?

"It's gotta look real. This isn't a movie." Absolute genius.

Yeah, I'm in glorious love with this film.

Ha ha, don't worry about it. I'm the same way with The 400 Blows, but for different reasons probably.

bunuelian wrote:It's glorious to be in love with a film.

Of course. Very nice reading Noiretirc's infectious enthusiasm, I wish I could share his newfound passion for Pierrot le fou. I'm sooo in love with Chungking Express, every day I wake up feeling desperate to cuddle up with the film 24/7. I've seen this film so many times but this last time I saw it last week, it unexpectedly punched me so hard that I remain bedazzled.

Michael wrote:

bunuelian wrote:It's glorious to be in love with a film.

Of course. Very nice reading Noiretirc's infectious enthusiasm, I wish I could share his newfound passion for Pierrot le fou. I'm sooo in love with Chungking Express, every day I wake up feeling desperate to cuddle up with the film 24/7. I've seen this film so many times but this last time I saw it last week, it unexpectedly punched me so hard that I remain bedazzled.

Although I know that lists threads are generally discouraged, I wonder if anyone (besides me) would be interested in a thread dedicated to "that one film that just blows me away and makes me wonder how I ever lived before seeing it." I think that would be interesting, and fun. (For me, it's This Charming Girl.) I'll let someone with more authority/seniority either start such a thread and/or delete this post as off-topic.

I am never one to object to infectious enthusiasm . . . however, my opinion regarding stream of consciousness narration as a preferred method of forum posting is another matter entirely.

Tom Hagen wrote:I am never one to object to infectious enthusiasm . . . however, my opinion regarding stream of consciousness narration as a preferred method of forum posting is another matter entirely.

I'll never pretend to be the best / most knowledgeable / most articulate poster at CriOrg, dear Tom. (Edit: After reading many of your posts, that honour obviously belongs to you. I especially loved your take on The Shining.)

Don't you know that flattery will get you everywhere.

But, honestly, I am nowhere near the top of the list of articulate and brilliant people around here. Not. Even. Close. I was just doing a little gentle razzing.

It's not Criterion Backwards' fault, he accidentally sent his Live Journal's RSS feed to his forum account

Here we go. I can see where this thread is heading. And it will be all my fault, won't it?

See you in one month!