Lola Page #2

Synopsis: Roland Cassard is a young man with no job and seemingly no prospects. By chance, he runs into his former girlfriend, Cecile who works as a dancer at a cabaret under the stage name Lola. She is now a single mom and works hard to provide her young son with all of the necessities of life. Lola still hopes that her son's father, Michel - the true love of her life - will someday return to them. Seeing Lola again confirms to Roland that he is in love with her but his feelings aren't reciprocated. Roland has also met Madame Desnoyer and her 14 year-old daughter, also called Cecile. Madame Desnoyer, a widow, is quite taken with Roland but he has little interest in her. For Roland, he sees little future in remaining in France.
Genre: Drama, Romance
Director(s): Jacques Demy
Production: Wellspring Media Inc.
  Nominated for 2 BAFTA Film Awards. Another 1 win.
 
IMDB:
7.6
Metacritic:
73
Rotten Tomatoes:
100%
NOT RATED
Year:
1961
90 min
486 Views


Your name made me think of her.

You look so much like her,

I feel ten years younger.

How curious.

Indeed.

I'm glad to be of help.

When may I deliver it?

No need to do that.

My daughter and I can...

I have plenty of time.

We live at 10 rue de Calvaire.

Madame Desnoyer.

This evening at 7:00?

- Gladly.

- Good.

Thank you again.

Come on, Cecile.

Sacha Distel.

Not today.

They're charming.

I look awful.

You're the most beautiful girl

I've ever known.

Really?

You have charm,

grace, and beauty.

You're in love.

I'm always in love.

I'm engaged in the States.

Where were you before?

Before what?

Before the Navy.

I worked for Dad in Chicago.

What's he do?

He's in lifts.

You know, for going up.

Airplanes?

Sputniks?

No, not sputniks.

Never mind.

Maybe I'll work for him again

when I get home in three months.

And get married?

You look so much like him.

Who?

A guy that I loved a lot.

American?

French.

Are you jealous?

No, I'm not jealous.

Tomorrow we're sailing

for Cherbourg.

Our leave's over.

And then?

Back to the States.

Coming back to France?

Maybe.

I don't know.

Come on. I must take the boy

to school, and I'm late.

Why are you looking

at me that way?

No reason. Just looking.

I'll come say good-bye tomorrow.

If you want to.

What's wrong?

It's broken.

I'll buy you a new one.

I want a trumpet.

You'll get one.

Come on.

Come on, Yvon.

The dictionary.

It was here this morning.

Where did I put it?

Here.

It's odd.

- I lost my job.

- Surprised?

No, but I'm broke.

Can you loan me?

Here. I'm big-hearted.

I'm hungry.

- Butter?

- Sure.

I didn't see you.

That's pretty.

It's a seascape.

Is your son back?

No, it wasn't him.

I'd have bet my right arm

it was him.

You're lucky you didn't.

You'd never have painted again.

Silly!

I've made up my mind.

I'm leaving.

I saw a Gary Cooper movie

this afternoon.

It was beautiful.

The people seemed happy.

Where?

At the Ritz.

I meant what country?

Matareva... A Pacific island

near Tahiti.

It's always beautiful.

- What?

- In the movies.

So is life.

Here, we don't know

how to live anymore.

Me and my boss,

you and your drunks.

You know how to live?

I'll learn.

By traveling?

It's the only remedy for me.

- For what?

- Boredom.

You should get married.

And have lots of kids.

With six kids to feed,

you'd have no time for boredom.

You'll never understand me.

We're too stupid.

What's that?

A dictionary.

Jeanne knows how to live...

by killing time

with her daubing.

You call that daubing?

Sorry. Your works.

With them you manage

to kill time.

I have no works to create.

I'm lost.

Totally lost.

I'm bored to death.

Forgive me.

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Jacques Demy

Jacques Demy (French: [ʒak dəmi]; 5 June 1931 – 27 October 1990) was a French director, lyricist, and screenwriter. He appeared in the wake of the French New Wave alongside contemporaries like Jean-Luc Godard and François Truffaut. Demy's films are celebrated for their sumptuous visual style. Demy's style drew upon such diverse sources as classic Hollywood musicals, the documentary realism of his New Wave colleagues, fairy-tales, jazz, Japanese manga, and the opera. His films contain overlapping continuity (i.e., characters cross over from film to film), lush musical scores (typically composed by Michel Legrand) and motifs like teenaged love, labor rights, incest, and the intersection between dreams and reality. He is best known for the two musicals he directed in the mid-1960s: The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967). more…

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Submitted on August 05, 2018

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