UnowPriceless hyped garbage

Sexyloutak Absolutely the worst movie.

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Framescourer If Jacques Demy is famous for anything - and by anything I mean The Umbrellas Of Cherbourg and The Young Girls Of Rochefort - it's the ability to magic fairytale and fun out of the grey-grind of parochial French life. Admittedly he achieves this in the first place by simply splashing colour over everything. But in this black and white film of 1961, that particular synaesthetic channel isn't open.Instead we get an energetic tale of loves lost and found, missing one another - and, with great care and nuance, reflecting one another. Lola is like Robert Altman or even PT Anderson but before their kookiness or romanticism ironed it out a little.The performances are all strong - even Alan Scott's Frankie; I spent the first half of the film trying to work out whether he's a French playing an American with a bad accent or just an American... The stratified, wistful non-conclusion to the film is a payoff worth pursuing, though the rest of the film is fine. 7/10

nycritic Romance as a genre encompasses dreamy passions and interconnecting love affairs. LOLA is as a whole, the embodiment of romance rising in the flesh as Anouk Aimee, clearly posing as Venus/Aphrodite and with a heart to end all hearts and a physicality that is alluring, dark, carnal, but a dream morphing into an ethereal reality. She, as Lola, is a fallen woman who doesn't wallow too much over her fate but enchants everyone who crosses her path; she pines for the man who left her with child -- Miohel -- while Roland Cassard, who would later marry Catherine Deneuve's character in THE UMBRELLAS OF CHERBOURG, floats in as one of Lola's many suitors, which also include an American sailor. Lola is pure stream of consciousness made breezy romance, barely having its plot but existing purely on the notion that somehow these characters have their counterparts and are meant to meet them along the way, even when there will be heartbreak and some important decisions to be made. Jacques Demy, to me one of the greatest romantics of the 20th Century, created his trilogy with this excellent little piece that most certainly still has all the qualities of a musical without music and hasn't aged as it approaches its 50th year.

kim33-1 I have recently watched trois couleurs:Rouge and realized that what they're trying to do is similar to Lola. both the movies have reaccuring circumstances such as in trois couleurs, there is an old judge and he talks of his heartbreak. then simultaneously there is a young judge and we get to see his girlfriend cheating on him. In Lola, we see young Cecile and older Cecile, Michel and Franky. maybe they're trying to say life repeats itself? I enjoyed it thoroughly. She is very charming. here are my favorite quotes:"we're alone and we stay alone but what counts is to want something no matter what the cost is.""bit of happiness in simply in wanitng to be happy."

writers_reign Having heard and read little but lavish praise for this early Jacques Demy entry it was perhaps inevitable that, seeing it for the first time some 43 years after its initial release I would be disappointed. By pure coincidence I had seen exactly one week earlier the now 72 year old Anouk Aimee playing Yvan Attal's mother in a current crowd-pleaser in Paris and it maybe this first-hand and arguably cruel knowledge of how Time deals with the most beautiful of actresses coloured my impressions. There is little radically wrong in this story of missed opportunities and ships-that-pass-in-the-night encounters augmented by a romantic score by Michel Legrand in which he auditions one of the main themes of Les Parapluies de Cherbourg (in the English translation the theme became 'Watch What Happens') which lay some three years in the future. All hands turn in decent enough performances from Anouk (as she was known in her early British films like 'The Golden Salamander') herself through Marc Michel's Roland Cassard, Alan Scott's Frankie and especially Elina Labourdette's Madame Desnoyers. Demy has opted for a sort of uncompleted La Ronde style (the cinematic equivalent of theatre-in-the-half-round) in which characters meet or else just MISS meeting, separate and meet someone else who will, sooner or later, explore the six degrees of separation theory. It's more than possible that had I seen this on its release I would be taking at least one turn around the block on the Hosanna bandwagon but as it stands I rate it a respectable 7/10