by guest writer
Lola (1961) was Jacques Demy’s debut film (his Bay of Angels remains one of my all time favourite movies). What strikes at first is the way he chooses to open his movie: Beethoven and Michel Legrand’s are the rhythms introducing a mysterious white American Cadillac, and by filming the waterfront and the highly photogenic balcony streets of Nantes, Demy gives his film an authentic and picturesque touch. I must mention the fact that Lola is a tribute to Max Ophüls and Raoul Coutard goes to the limits to get his shots and angles in a perfect composition. Lola (Anouk Aimée) is a cabaret dancer who raises her child on her own and doesn’t want to take a decision on choosing the proper man for her life even though there are a few admirers. About her character, Anouk Aimée said that she was “devoid of any sort of aggressiveness, or vulgarity, or exhibitionism” and that the poetry of the film made her act so freely. The movie realistically asserts the ephemeral nature of happiness and love with a subtle humanity which is not too often seen in cinema.
photo: movie still | Rome Paris Films