{"id":18030,"date":"2018-05-30T13:00:56","date_gmt":"2018-05-30T17:00:56","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=18030"},"modified":"2018-05-31T12:20:12","modified_gmt":"2018-05-31T16:20:12","slug":"jacques-demys-two-shades-of-ennui-lola-1961-model-shop-1969","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=18030","title":{"rendered":"Jacques Demy&#8217;s Two Shades of Ennui: Lola (1961) + Model Shop (1969)"},"content":{"rendered":"<p>Full confession: I\u2019ve never been a fan of Jacques Demy\u2019s <strong>The Umbrellas of Cherbourg<\/strong>, largely because I can\u2019t get past spoken dialogue melded to melody and score, but perhaps the diretor\u2019s Lola \/ Cecile diptych might provide a gentle doorway into his peculiar world where characters, images, sounds, and colours move in a stylized dance. In other words, maybe I&#8217;ll warm up to the classic.<\/p>\n<p><img loading=\"lazy\" class=\"alignleft wp-image-18033\" src=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2018\/05\/Lola1961_LP.jpg\" alt=\"\" width=\"200\" height=\"199\" \/>Demy\u2019s feature film debut came in the form of <strong><a href=\"http:\/\/kqek.com\/mobile\/?p=18025\">Lola<\/a><\/strong> (1961), which didn\u2019t introduce French icon Anouk Aim\u00e9e to English language audiences \u2013 she\u2019d already had roles in Anatole Litvak\u2019s <strong>The Journey<\/strong> (1959) and Frederico Fellini\u2019s art house hit <strong>La Dolce Vita<\/strong> (1960) \u2013 but <strong>Lola\u00a0<\/strong>perhaps prepped us for Aim\u00e9e in\u00a0<strong><a href=\"http:\/\/kqek.com\/mobile\/?p=2355\">A Man and a Woman<\/a><\/strong> (1966), Claude Lelouch\u2019s bittersweet romance (and a film SCREAMING for a Blu-ray release, since the DVD\u2019s been OOP for quite some time).<\/p>\n<p>Criterion released <strong>Lola<\/strong> on Blu a few years ago, and Aim\u00e9e reprised the role of the cabaret singer \/ dancer in <strong><a href=\"http:\/\/kqek.com\/mobile\/?p=18028\">Model Shop<\/a><\/strong> (1969), Demy\u2019s lone American studio film which didn\u2019t seem to please Columbia because of its low key tone, ennui-steeped characters, and meandering first half as a bum (Gary Lockwood) follows a model as he\u2019s waiting for his draft call to chime.<\/p>\n<p>Twilight Time\u2019s Blu features an isolated score of Spirit\u2019s unreleased cues, but more importantly, it showcases 1969 Los Angeles in its rambling, two storey quaintness. Both films reflect Demy\u2019s visual style and unique use of music \u2013 sometimes metaphoric, subtextual, or conventional source \u2013 and two leads delivering oddly compelling performances of characters caught in dead end lives until fate sparks a wake up in both.<\/p>\n<p>Cheers,<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Mark R. Hasan<\/strong>, Editor<br \/>\n<strong>KQEK.com<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Reviews of Jacques Demy&#8217;s Lola diptych: the eponymous 1961 classic (via Criterion Blu) and his lone American film, the grim Model Shop (1969), new from Twilight Time.  <\/p>\n","protected":false},"author":1,"featured_media":18045,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[314,2562,2563,5715,5712,5713,5714],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2018\/05\/ModelShop_featured.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-4GO","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/18030"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=18030"}],"version-history":[{"count":7,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/18030\/revisions"}],"predecessor-version":[{"id":18060,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/18030\/revisions\/18060"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/18045"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=18030"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=18030"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=18030"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}