| Errors | Missing | Unverified | Supported |
|---|---|---|---|
| 4 | 1 | 0 | 2 |
In the 1956 film The Red Balloon (Le Ballon rouge), the theme of "secrets" is central to the relationship between the protagonist, Pascal, and the magical, sentient balloon. Because the balloon represents a sense of wonder and freedom that is rejected by the rigid adult world, the characters frequently resort to concealment and "innocent lies" to protect their shared world.
Specific secrets kept by the characters include:
The primary secret in the film is Pascal's ongoing efforts to hide the balloon from authority figures who do not understand or allow its presence:
The balloon itself keeps secrets through its behavior, revealing its sentience only to Pascal while playing "games" that others do not see:
The gang of older boys maintains their own secrets in the form of predatory planning:
Film critics, such as Philip Kennicott, have analyzed the film as taking place in a "world of lies." In this context, the "secrets" are the internal lives of the children:
In the film's climax, it is revealed that every other balloon in Paris shared a "secret" connection to Pascal's red balloon. When the red balloon is destroyed, all the other balloons across the city—which had been "kept secret" in the hands of other children or tied to shops—simultaneously break free and fly to Pascal to lift him away, revealing a hidden, magical network of solidarity against the harshness of the world.
The summary forces the entire plot into a 'secrets' framework, leading to misinterpretations of the balloon's public behavior and the critic's analysis.
The summary includes backstory details (rejected pets) that are present in the book adaptation but absent from the film.
In The Red Balloon (1956), the characters do not primarily keep 'secrets' as a central theme; rather, the film depicts an open conflict between innocence and a rigid reality. While Pascal does briefly hide the balloon from his mother (sneaking it back in the window) and entrusts it to a janitor to keep it out of class, the balloon's magical nature is not a secret—it openly interacts with and teases the principal, teacher, and other children, which is what provokes their envy. The claim that the balloon reveals its sentience 'only to Pascal' is incorrect. Additionally, the backstory regarding a rejected stray cat and dog comes from the book adaptation, not the film. The 'world of lies' analysis by Philip Kennicott refers to his critique of the film's moral dishonesty, not the characters' internal lives.