IMDb RATING
7.5/10
7.5K
YOUR RATING
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.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.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.
- Nominated for 2 BAFTA Awards
- 2 wins & 3 nominations total
Annie Duperoux
- Cécile Desnoyers
- (as Annie Dupéroux)
Dorothée Blanck
- Dolly
- (as Dorothée Blank)
- Director
- Jacques Demy(a film by)
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThis, Jacques Demy's first film, is a tribute to Max Ophüls.
- Quotes
Roland Cassard: 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.
- ConnectionsFeatured in Jacquot of Nantes (1991)
- Soundtracks7ème Symphonie
Music by Ludwig van Beethoven (as Beethoven)
Featured review
Sonata of the conscious return
Truly this is one of the Nouvelle Vague debuts to be cherished, not so much for new ground it breaks because the way had been paved for adventurous makers who wanted out from the constraints of stage a few years prior, but because it paces freely and briskly.
How to shape the comingling of life that plays a cosmic joke on us and our effort to pursue meaning must have been the question in Demy's mind, with whom I'm happy to be acquainted here for the first time, the door to his home opened by my recent discovery of his wife, Varda. Different characters stroll around Nantes in search of lost time and love that can be new again.
The man chances to meet one day in the street a flame of his childhood, the girl Lola in turn has taken in her bed an American sailor that reminds her of hers. This is memory, consciousness that looks back on itself and forward to itself (it's the same facet of ourselves that creates memory and anticipation). Demy creates it so that he can wonder about the possibility of an anchor, happiness, in a life that heaves this way and that with turbulent streams of consciousness that carry the past and flow out to future sea.
The man is free from constraints as the film begins, hopping around town, but the freedom only makes him languish. We need life that points to something outside of us yet the joke played on us by life is that we keep encountering ourselves ahead of ourselves, the life we've set in motion.
True to the returning nature of consciousness, characters relive feelings of old and contemplate love that can sustain a future life while the present is pulling them away in other directions, a smuggling trip to South Africa, a return voyage to America, a girl absconding to Cherbourg in search of life. In a masterful stroke we relive Lola's first love through a surrogate infatuated girl who walks around a funpark with the sailor lookalike, a scene that recalls the sage Epstein.
This is the lushest of different strolls and it is only the lack of poetics of transcendence that I miss here, Demy being content with transparent observation and dialogue. Resnais had triumphed in this two years prior in Hiroshima mon amour and through the years we arrive at the wholly fluid unmooring of space in Malick which harks all the way back to Epstein.
Demy made a second film that I've already set my eyes on, that picks up in Cherbourg after events of this continuing the return, the protagonist here returns as a character there, there's a flashback and a dinner scene that repeats. I pick up the thread there.
Here, none of it truly materializes love except perhaps the dreamlike return of the son in his rich convertible who drives around town for the duration, reluctant to return. But we have past and future materializing together in the walk that gives a clear-eyed perception of ourselves at the crossroads.
How to shape the comingling of life that plays a cosmic joke on us and our effort to pursue meaning must have been the question in Demy's mind, with whom I'm happy to be acquainted here for the first time, the door to his home opened by my recent discovery of his wife, Varda. Different characters stroll around Nantes in search of lost time and love that can be new again.
The man chances to meet one day in the street a flame of his childhood, the girl Lola in turn has taken in her bed an American sailor that reminds her of hers. This is memory, consciousness that looks back on itself and forward to itself (it's the same facet of ourselves that creates memory and anticipation). Demy creates it so that he can wonder about the possibility of an anchor, happiness, in a life that heaves this way and that with turbulent streams of consciousness that carry the past and flow out to future sea.
The man is free from constraints as the film begins, hopping around town, but the freedom only makes him languish. We need life that points to something outside of us yet the joke played on us by life is that we keep encountering ourselves ahead of ourselves, the life we've set in motion.
True to the returning nature of consciousness, characters relive feelings of old and contemplate love that can sustain a future life while the present is pulling them away in other directions, a smuggling trip to South Africa, a return voyage to America, a girl absconding to Cherbourg in search of life. In a masterful stroke we relive Lola's first love through a surrogate infatuated girl who walks around a funpark with the sailor lookalike, a scene that recalls the sage Epstein.
This is the lushest of different strolls and it is only the lack of poetics of transcendence that I miss here, Demy being content with transparent observation and dialogue. Resnais had triumphed in this two years prior in Hiroshima mon amour and through the years we arrive at the wholly fluid unmooring of space in Malick which harks all the way back to Epstein.
Demy made a second film that I've already set my eyes on, that picks up in Cherbourg after events of this continuing the return, the protagonist here returns as a character there, there's a flashback and a dinner scene that repeats. I pick up the thread there.
Here, none of it truly materializes love except perhaps the dreamlike return of the son in his rich convertible who drives around town for the duration, reluctant to return. But we have past and future materializing together in the walk that gives a clear-eyed perception of ourselves at the crossroads.
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- chaos-rampant
- Apr 24, 2015
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Details
- Release date
- Countries of origin
- Languages
- Also known as
- Lola, das Mädchen aus dem Hafen
- Filming locations
- La Baule, Loire-Atlantique, France(Michel drives into town)
- Production company
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $103,951
- Gross worldwide
- $103,951
- Runtime1 hour 30 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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