Lola, donna di vita

Demy's films of the 1960s laid out the whimsies, joys and terrors of the Nouvelle Vague generation, not through the parodic dissections of Godard, nor the eerie doublings of Resnais or early Varda, nor the rebellions of Truffaut's 400 Blows, not through encounters with malign authority, but through the networks of friendship, love and relation more often the terrain on which life is explicitly lived and experienced. As a kind of try-out for the musicals-shot as a conventional narrative film without sung only because of a lack of resources, but with a glorious Legrand soundtrack anyway-Lola is at once more sombre/sober and equally preoccupied with the same shadings of mood, somewhere between a feminist, or at least non-misogynist portrayal of an independent woman not subject to judgment, and the stereotypical figures that populate heterosexual romance. The use of locations as repositories of memory and of their own mythology-Roland's return in 'Parapluies' or the much darker return to the arcades in 'Un Chambre En Ville'-begins here. The Demy creed: "There's a bit of happiness in simply wanting happiness". It's hard not to get sucked in.

Jacques Demy makes his feature length debut in a solidly crafted drama that signaled great things to come. Demy is able to craft enjoyable characters in a film that interconnects their stories in a rather beautiful way. Thematically, our characters seek purpose, with themselves and with one other. The way Demy is able to interconnect and mirror these stories is very well done. Add to that some nice black & white camera work and you have film that demonstrates Demy's unique style and sets him apart from other directors.

This film, which sets up many of the story lines and themes that are taken up in "The Umbrellas of Cherbourg," is as charming and seductive as the latter, even in black and white and without the musical numbers. In fact, the black and white is quite spectacular--the camera loves Anouk Aimée in particular--and the film seems as if it is going to turn into a musical at almost every moment. While watching the film, one thrills to see the first statement of director Demy's beautiful and poignant cinematic universe. "Lola" is at once a splendid homage to the classic Hollywood film, and at the same time, through its expression of complex, mostly tragic themes, and quotidian--if not ugly--realities, something much more intriguing than a conventional film romance. Yet, such harshness is tempered, even transformed, by the dreamscape of cinema, both in what is depicted on-screen as well as through the characters' own processes of dreaming. You needn't resist the temptation to call it sublime.

This director is ROMANTIC! I think he rightly shows the astonishing contrast between love being generated by complete chance and fleeting encounter - with its lasting consequence and possibly enduring devotion. I just loved it.

One of the things that is so winning about this movie (also true of The Umbrellas of Cherbourg) is how very modest the characters -- and the movie - are.

The characters are sincere - if they lie, they apologize later - and unafraid to say when they are greatly moved -- and when they aren't.

I think both movies wonderfully portray mother - daughter relationships - and both are quite sympathetic to men as well as women.

How often do you see movies that show the truth of men's emotions wracked by romantic feelings (rather than solely lust) - sometimes returned and sometimes not? Very seldom.

In some ways, I prefer Lola to Umbrellas because the plot is more ingenious, the vividly drawn characters more numerous - so there is more to engross one. (On the other hand, by concentrating on just the love for one woman, Umbrellas creates an agony in the viewer that is more powerful than any feeling in Lola).

Just see it - and you'll see many disparate pieces pull together in a wonderfully satisfying, utterly charming, wonderful romantic tale.

Lola and Umbrellas make me anxious to see the Young Girls of Rochefort.

LOLA is a wonderful movie. It may not have the intensity of THE UMBRELLAS or even YOUNG GIRLS, but it is the beginning of the Demy sensibility that came to fruition in those films. The difference is that in LOLA he takes more from the contemporary films scene, bowing to his peers as well as his predecessors. Despite criticisms, the effect of the film, its music and playful qualities, its excellent acting and camera, still puts contemporary films to shame.