I saw this in this in the cinema earlier tonight and some people laughed at that, others didn't, neither did I.
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I laughed, but only because it was so odd. Not exactly because it was funny.
shareIt's reminiscent of older style, or European, clowns. It's funny in a sweeter and more subtle way.
shareI like that you used the word "sweet" for the humor of this scene, and I agree that this gag is certainly reminiscent of European-style clowns.
Having said that, I don't read this scene as humorous or intended to be. I see the balloon joke as nothing more than an innocent and, yes, "sweet" attempt to cheer up Nana. Up until this particular scene, the movie has been pretty heavy in its philosophical content. Nana is plagued by persistent but fairly obscure existential questions which are contributing to her unhappiness--she is thinking too much or at least taking herself too seriously. The lightness produced by the balloon gag, then, provides a bit of a counterpoint to all that heaviness.
In this scene, she is introduced to this fairly unassuming (and homely) gentleman who--perhaps in a gentle effort to woo or impress this pretty young woman who otherwise might not even notice him--proceeds to touch her with his childlike (if ridiculous) humor. It awakens something in her. This simple gesture teaches Nana not to take herself so seriously; to appreciate life's little joys and to stop over-analyzing everything. If I remember correctly, immediately afterward she dances and is genuinely carefree for perhaps the first time in the film. This is significant. Of course her fate is already determined by her preceding actions, and her story will still end tragically--but not before we see this tiny glimpse into her soul.
So, I think this scene is effective not for the humor it creates in isolation, but for the poignant quality it contributes to the whole film. The balloon gag, ridiculous as it may appear, genuinely touches Nana and encourages her to change her life for the better. The transition Nana's character undergoes in this scene is subtle, but it seems as if she finds the answer to all her questions in this simple interaction. Somehow the balloon gag resolves her existential dilemma. By means of this man's example, she finally feels free to make a fool of herself; then we see that she has found love with an artist and intends to give up prostitution. It seems her life has finally turned around, but (as required by all great tragedies) she is nevertheless "punished" for her earlier actions and mistakes. All this contributes to the essential questions posed by the film: Can we ever judge a person by their actions? Are we truly free to become something other than what we have been?
In case it wasn't obvious, this is one of my favorite Godard films!
And you will know my name is The Lord when I lay my vengeance upon thee!