"There's a bit of happiness in simply wanting happiness"

Catherine Deneuve and Nino Castelnuovo in The Umbrellas of Cherbourg (1964)

Richard Berry, Dominique Sanda, and Jean-François Stévenin in A Room in Town (1982)

Jean-Paul Belmondo, Jean-Claude Brialy, and Anna Karina in A Woman Is a Woman (1961)

I've thought a lot about you and me. It doesn't matter now. It's not your fault or mine. It's just how it is. We're alone and we stay alone. But what counts is to want something, no matter what it takes. There's a bit of happiness in simply wanting happiness.

Anouk Aimée and Alan Scott in Lola (1961)

Anouk Aimée and Jacques Harden in Lola (1961)

Anouk Aimée

Marc Michel

Jacques Harden

Jacques Demy

A bored young man meets with his former girlfriend, now a cabaret dancer and single mother, and soon finds himself falling back in love with her.

Lola

&quot;There&apos;s a bit of happiness in simply wanting happiness&quot;

Demy&apos;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&apos;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&apos;s return in &apos;Parapluies&apos; or the much darker return to the arcades in &apos;Un Chambre En Ville&apos;-begins here. The Demy creed: &quot;There&apos;s a bit of happiness in simply wanting happiness&quot;. It&apos;s hard not to get sucked in.

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.

bappamtv

Lola

🎭 Top Cast

💰 Box Office

🎬 Technical Specs

🏷️ Keywords

🎯 Categories

⭐ Featured Review

💡 Did You Know?

🎬 More Like This

📖 Synopsis