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Lola

Lola

Drama · Romance · 1961

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.

Movie details

Lola

1961 Drama · Romance 1h 29m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community 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.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Lola?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Young Lovers

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Elegant, retired architect Shauna (70) crosses paths with Pierre, a happily married doctor in his 40s, who first made an impression on her in a brief meeting 15 years previously. Both are quite troubled to meet again and begin an affair. While Pierre’s family life is soon turned upside down, Shauna struggles with feelings she thought belonged to the past.

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Angélique is a 60-year-old bar hostess. She still likes to party, she still likes men. At night, she makes them drink, in a cabaret by the French-German border. As time goes by, clients become rare. But Michel, her regular client, is still in love with her. One day, he asks Angélique to marry him.

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Names above the title

The people responsible.

Directed by

Jacques Demy

Written by

Jacques Demy

Anouk Aimée

Anouk Aimée

Lola (Cécile)

Marc Michel

Marc Michel

Roland Cassard

Jacques Harden

Jacques Harden

Michel

Alan Scott

Alan Scott

Frankie

Élina Labourdette

Élina Labourdette

Madame Desnoyers

Margo Lion

Margo Lion

Jeanne, la mère de Michel

Annie Duperoux

Annie Duperoux

Cécile Desnoyers

Court is in session

Put Lola on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.