Loulou (1980) from Johnny Web (Uncle Scoopy; Greg Wroblewski) and Tuna
|Another sloppy film that was nominated for the
grand prize at Cannes. I can't really explain why. Maurice Pialat was 55
when he made this movie, but it looks like a NYU senior film project,
and has the same sophomoric pseudo-existentialist anti-material
weltanschauung. It is not even technically sound. The lighting is completely incompetent.
Although some of the set-ups are composed
thoughtfully, the lack any life or energy. , Actors sometimes
wander out of the scene altogether, if I may really call them actors. It appears that only the three
main characters were played by professional performers. The background players all stand around
with their arms stiffly at their sides and recite their lines like
zombies. It seems like most of them have never been in any other film,
or at most one other Pialat film.
Even the female lead, Isabelle Huppert, was the fourth choice for the role, but Sylvia Kristel, Isabelle Adjani and Miou-Miou all turned down the project for various reasons, so Huppert got the job.
Why the acclaim for this film? I guess the film caught the popular Zeitgeist of 1980, or at least the French portion of it.
As for the plot - there really isn't one. It's a slice of life that ends when ... I guess when they ran out of film. Isabelle Huppert plays an educated upper middle class wife, who has a good job in advertising but is bored with her prosperous but lifeless existence. To deal with her ennui, she has a fling with an unemployed lower-class ex-con but, as time goes on, it becomes less of a fling and more of a lifestyle commitment. She starts to hang around with his friends and watch them get drunk every night. She drops her own family and hangs around with his. She even goes along on some of his petty criminal activities. I guess this symbolizes her rejection of bourgeois values in favor of ... um ... no values, I guess. Getting drunk every night, maybe. I don't really know.
She eventually gets pregnant, and they both seem happy about that at first, but she ends up getting an abortion. That more or less concludes the film, as summed up by this dialogue:
Tuna's notes in yellow
Gérard Depardieu is Loulou, an unemployed ex-con whose life centers around getting drunk and laid, and who survives by sponging off friends and committing the odd burglary. Isabelle Huppert is a successful ad executive in her rich husband's agency. She meets Loulou one night at a club, and can't wait to leave her husband and jump into Loulou's bed and then into his life. He has no objection to their relationship since sleeping in a hotel room every night beats the hell out of sponging from his friends, especially since and she pays the tab. Naturally, Loulou doesn't let this new relationship get in the way of his screwing other women.
Then an hour goes by before something worthwhile happens. The point of the film seems to be that a modern woman can emulate male behavior and live with her head and/or heart in her genitals. Or perhaps this was the French equivalent of a "good girl can't resist bad boy" film. Finally, Huppert's character gets pregnant. Will the shiftless Loulou get a job, marry her, and raise a family with her?
I don't fucking think so.
Given that the film goes nowhere and that the photography and lighting are filled with mistakes, I am left wondering why anyone would enjoy it but, like snails, it was hugely popular in France.
Snails, however, move faster.
Even after they are cooked.
Return to the Movie House home page