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The theme of innocence is persistent and is one of the main focuses of the film. Through a child's gaze, a cynical world is transformed into an almost magical one, highlighting the power of the innocence and imagination of children. [5]

Lamorisse used his children as actors in the film. His son, Pascal, plays himself in the main role, and his daughter, Sabine, portrays a young girl.Guitarist Keith Calmes' album Follow the Red Balloon [23] is named as an homage to the spirit of Pascal and Sabine. The A to Z of French Cinema, P.xxx) 1956: December: Albert Lamorisse's Le Ballon rouge wins the Prix Louis-Delluc Accessed February 12, 2018. Schreuders, Piet (8 February 2012). "Het Parijs van Le Ballon Rouge". Furore . Retrieved 9 May 2020. Lamorisse was a former auditor at the Institut des hautes études cinématographiques (IDHEC), and the crew that he used for the making of the film was entirely composed of IDHEC graduates. [8]

THE RED BALLOON (U)". British Board of Film Classification. 15 October 1956 . Retrieved 25 March 2016. The film ends as all the other balloons in Paris come to Pascal's aid and take him on a cluster balloon ride over the city. As the film was filmed in Paris after World War II, its mise-en-scène is quite dark and grey and therefore gives a depressing quality to the setting and mood. In contrast, the balloon's bright color acts as a symbol of hope and light within the film. [2] The cluster balloon ride in the closing scene could also be said to represent a religious or spiritual analogy. For example, when the balloon is destroyed, its "spirit" lives on as it is transferred to all the other balloons in the city, which some believe to be a metaphor for Christ. [3] Themes of self-realisation and loneliness are also present in the film. [4] a b Kennicott, Philip (23 November 2007). " 'Red Balloon' and 'White Mane': Childhood Colored by Adult Cynicism". The Washington Post . Retrieved 9 May 2020.Koresky, Michael (28 April 2008). "The Red Balloon". The Criterion Collection . Retrieved 9 May 2020. The film, in its American television premiere, was introduced by then-actor Ronald Reagan as an episode of the CBS anthology series General Electric Theater on 2 April 1961. [10] Don Hertzfeld's 1997 short film Billy's Balloon, which also showed at Cannes, is a parody of the film.