“Pierrot Le Fou,” “Pierrot the Fool,” (1965). Many people consider this brisk (110 minutes) French film by famed nouvelle vague (new wave) director Jean-Luc Godard (BREATHLESS) to be one of the glories of French cinema, as it attempts, in full color, to capture the dramatic wanderings about France of Ferdinand Griffon (Jean Paul Belmondo. BREATHLESS) and Marianne Renoir (played by Anna Karina, the beautiful actress/ former model married to Godard, who made VIVRE SA VIE, BAND OF OUTSIDERS, and ALPHAVILLE with him too). These critics presumably would think that the film captures contemporaneous French cool as only Godard could imagine and depict it in this cerebral, sometimes witty, Comedy | Crime | Drama | Musical | Romance. At any rate, after he attends a mindless Paris party full of shallow chatter, Ferdinand suddenly feels a desperate need to escape the boring society in which he moves. So he runs away with his former lover/ children’s baby-sitter for the evening, Marianne. But Marianne's dark past haunts her; she is being chased by Algerian hit men, as the pair embarks on their unorthodox road trip, heading inexorably toward their fates. So why, you may ask, is the movie called “Pierrot Le Fou,” when the male protagonist’s name is Ferdinand? Ah, that’s because Marianne, as she skips and capers adorably around-- she’s so cute for the serial killer she appears to be-- chooses to call Ferdinand by Pierrot, the name by which the French know an ancient famous French folk character, frequently played in pantomime, who’s a bit of a fool. How cool can you be? Dear Marianne is evidently too cool for school. A word of explication here: I am not now, and never have been, a student of film: I just see, and react to, a lot of movies. Well, since the first moment I saw it, I have loved Godard’s early movie BREATHLESS, and Belmondo, its star. But I really disliked this movie the first time I saw it, and I still do.