Jean Luc-Godard

As critic spear Wollen notes, "Godard disrupts the traditional organisation of mainstream cinema by splitting up the recombining cinematic codes...which ...aim to unify: sound and image, time and space, character and sham" (99). The movie, however, is influenced by the genre of Hollywood gangster films.

Although there is no formal script with daily rewrites presented to the actors, the film indicates there was a synopsis or summary of scenes, written by Godard, from which he worked. An element of improvisation exists, plainly this did not mean the actors were resign to do what they pleased. An auteur film is not an amateur film. Director Godard knew what he wanted, and directed his actors according to his idea of what the film should say approximately modern consumer society and the worry of communication between women and men. Since this film, as well as others, starred his wife of the time it may be surmised that he was also commenting on his own difficulty in communicating with her.

The mise-en-scene is the crucial element of the movie as it creates the mood and atmosphere of the film. Essentially mise-en-scene constructs the film through camera placement (the long shot), blocking of action, direction of actors, the lighting and everything else that is knotty in shooting the movie before it is edited. "Integral to the creation of mise-en-scene is the notion that film should be not me

Pierrot le Fou. Dir. Jean-Luc Godard, 1965. (Released in the U.S. In 1969).

What the characters say, however, most a great deal has nothing to do with the game, and continuity of action is not classical in this film. As an auteur film, the movie centers more on Godard's philosophical interests than on the plot. For example, driving in a stolen car, the couple swipe a gas station by employing a casual that Marianne said she saw in a Laurel and bald-faced film.

The film couple improvises then, just as Godard and his actors improvise. When Pierrot and Marianne pull everywhere for a kiss, he looks at himself in the rear calculate mirror, and when Marianne asks him what he sees, he replies, "The face of a man who's close to drive over a cliff at a hundred kilometer's an hour." He does not do that at this show in the film because he is just speaking philosophically.

trust an intellectual or rational experience, but an emotional and mental one as well" (Cook 552). The technical characteristics of Pierre le Fou include location shooting, natural light, direct sound mixture on location and a mostly improvised plot and dialogue.

Wollen, Peter. "Semiotic counter-strategies: Retrospect," Readings and Writings. London: Verso, 1982,

Although the film has a somewhat whimsical, comedian tone, it also contains tragic elements of desperation as Marianne and Pierrot run but cannot escape their past or their society. Pierrot/Ferdinand may try to go "wild," but essentially Godard shows that he is not truly a free man. Overall, Pierro
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