Model Shop

What Demy does it interesting. Model Shop feels as though a European came to the States and fell in love with Los Angeles so much so that they made a film about it. As such, you get some wonderful (and countless) scenes of driving--with the nighttime sequences being the best. But the flip side to the travelogue is also the problem: there's so much lost in translation. The dialogue sounds like kids wrote it, the editing is haphazard, and the message is simplistic at best. You can skip this one.

I was well past the halfway mark trying to figure out what the plotline was going to be about when it started.

Viewed July 6, 2017. Demy's first movies were like ye-ye, but this thing is a dirge, an entirely unmusical exploration of disaffected youth floating through a world that's broken its promises. The Summer of Love seems like a dream to us now. Of a piece with Zabriskie Point and Medium Cool, but not as exciting as either.

Definitely not worth your time. The Graduate examines similar themes and examines them better. Anouk Aimée is positively gorgeous, and the film is well crafted, but Gary Lockwood's character is an unsympathetic piece of shit who basically guilts a woman into having sex with him. Please avoid.

Gloriously terrible. Watch a dreadfully unlikable, uncharismatic dude do his errands

Breathless in 1969 L.A.. Demy brings his usual vibrant colors in a dreamy and lonely film. You can see where Tarantino got his images for Brad Pitt driving in OUATIH.

I almost felt sorry for him. Almost. Story of a moron in a moronic time/scene. It did manage to hold my interest somehow. The old footage of L.A. was pretty interesting.

Something of a cross between LE FEU FOLLET and FIVE EASY PIECES (which is interesting, considering who helped with the English dialogue), this seems really to be about depression, and an outsider's perspective on the United States in troubled times. A long step down from Demy's masterpieces, with some definite flaws and weaknesses, but this is not without some interesting characteristics: the driving sequences make very good use of music, and the final scene is unexpectedly affecting.

Never thought Jacques Demy would direct such a snoozer. Obviously, Gary Lockwood is a liability, but even Marlon Brando couldn't turn the awkward, on-the-nose dialogue into something interesting.

O segredo íntimo de Lola estreava há 55 anos em New York. Estava pronta para odiar esse filme porque o estúdio forçou o Demy a abrir mão de ninguém menos do que Harrison Ford como protagonista para escalar o Gary Lockwood que não tem carisma algum, mesmo assim o filme é maior que isso, nem a cara de porta do Lockwood consegue estragá-lo, é uma boa entrada no Demyuniverse. YTS

Worth it for the final few scenes.

A time capsule to a groovier era.

Driving around L.A., trying to connect with somebody when the world just shuts down everything around you. Was kind of remade by John Sayles in the video to Springsteen's "I'm on Fire" with a much more charismatic lead.

Cool, captivating, and oddly poignant.