Friday Follies [n., pl.] postings on Fridays about fashion and food in film from guest bloggers with impeccable taste.
Much has been made of the vivid, pop art-inspired color palette and collage-like cutting in Godard’s 1965 film, Pierrot Le Fou. But really, the film (like Alphaville and A Woman Is a Woman, and, well hell, really all of the Danish-born French actress Anna Karina’s films), is a movie about heavy bangs and kohl-lined eyes. Long after you’ve forgotten all about that Brechtian breaking of the fourth wall business, or that film critics consider the film a paradigm of postmodernism, you’ll remember how helplessly charmed Jean-Paul Belmondo looked as Karina batted those thick lashes at him from underneath her schoolgirl-sexy brown fringe. The first time I saw Pierrot Le Fou at the Nuart, I booked a haircut and lash extension appointment while driving home on the 10. (Should you also find yourself seized with an immediate and uncontrollable need for falsies after viewing, trust me: Beverly Hills aesthetician Daniel Dinh.)—Robyn Brown
Robyn Brown has written and edited for several women’s magazines including Glamour and Allure. Currently she works as a freelance writer in Los Angeles, and is nearing the completion of her first novel.
