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Jacques Demy – Model Shop (1969)

Posted By: newland

Date: 14 Sep 2009 09:38:07

Jacques Demy – Model Shop (1969)
DVDrip | English | Subtitles: English (optional) | 1:37:08 | 720x400 | H264 | NTSC 23.97fps | Audio: MP3 - 160kbps | 1.52 GB

French New Wave writer/director Jacques Demy, best known for his stylish musical The Umbrellas of Cherbourg, reunites with French star Anouk Aimée (their first pairing, 1961's Lola) to direct his first film in America. Gary Lockwood (2001: A Space Odyssey) plays shiftless but innocuous George Matthews, who can't seem to get himself worked up about anything: the girlfriend he is about to lose, his soon-to-be repossessed car or even his draft notice. Until one day, he sees a beautiful but detached model (Aimée), and he begins to follow her. From Malibu Beach to Beverly Hills mansions to Santa Monica Boulevard's cheap strip joints, Los Angeles is critically examined…

Despite its poor initial reception and quick fade into obscurity, Model Shop is now considered one of Demy's finest films by contemporary film critics and admirers such as Armond White of the New York Post who wrote that "Model Shop is a post-masterpiece, elaborating Demy's own expressive vocabulary – making his imagination real, fulfilling that now-forgotten New Wave decree that movies be taken seriously as emotion pictures… Going back to Model Shop could help modern movies rediscover love." — Jeff Stafford, TCM

Briefly released by Columbia Pictures in 1969 and then consigned to oblivion, Jacques Demy’s strange, sad and beautiful “Model Shop” has surfaced under the camp umbrella of the Martini Movies line put out by Sony Pictures Home Entertainment. The film, Demy’s only feature shot in America, has nothing to do with the Rat Pack ethos implied by the packaging.
There are no swingers here, only an unhappy, listless young man (Gary Lockwood) waiting to be drafted and sent to Vietnam, and a slightly older French woman (Anouk Aimée) who catches his eye in a Los Angeles parking lot. Impulsively, he follows her — a figure in a white sheath dress, driving a long white convertible — as she drives through a portal of Greek columns on Sunset Boulevard on her way to a mysterious assignation in a mansion in the hills. George, the young man, later follows her to her place of employment, a storefront decorated with Playboy pinups that offers private photographic sessions with women, including Ms. Aimée’s character, wearing PG-rated negligees.
She turns out to be Lola, the showgirl heroine of Demy’s 1961 debut feature of the same name, now several years older and even more damaged by the perfidy of men. (Lola is only her Dietrich-like stage name; hiding behind it is the more demure Cecile.) Lola’s waiting too — until she can raise the money for a plane ticket to return to France — and so these two transitory figures spend a night together, before he goes to war and she returns to the son she left at home. — Dave Kehr, The New York Times

Anouk Aimée reprises her greatest role, as Cécile, professionally, Lola, in Jacques Demy’s English-language Model Shop. We catch up with her nine years after Lola in a seedy, forlorn part of Los Angeles, not in Nantes, where more of her life seemed to lie ahead. Now her marriage to Michel, once part of her future, has ended in divorce and she is attempting to make enough money to go home and be reunited with her teenaged boy, whom she hasn’t seen in two years. Once a dancer, someone in motion, now Lola poses for private clients in a model shop. “[T]he essence of her presence,” I wrote about Lola in her former incarnation, “is that [she] seems perpetually poised to take her leave.” A half-packed suitcase in her L.A. apartment, once serendipity brings her the needed funds, renews this sense of her.
Is it the brilliance of Lola that has helped blind people to how good a film the later one is? Or is it the fact that an American has become the protagonist?—George Matthews, the 26-year-old aspiring architect who, drafted into a tour of duty in Vietnam, discovers to his surprise he is afraid of death. Superb cinema: George’s two journeys down the long, dark, narrow, uterine corridor leading to Lola’s room at the model shop.
Ironically, in Nantes Lola had entertained American GIs at a private club, and one of these, Frankie, has been killed in Vietnam. Lola’s learning this upon arrival cast a pall on her American experience. By sharing this with George, Lola deepens his mortal fear; but her residual hopefulness rouses him from lethargy and inspires in him a love for life that he touchingly confuses with love for this woman he doesn’t really know.
Ah, but we do. — Dennis Grunes, wordpress.com

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