IMDb RATING
6.6/10
3.9K
YOUR RATING
Nelly, a bored wife, leaves her husband for Loulou, an unemployed, petty criminal.Nelly, a bored wife, leaves her husband for Loulou, an unemployed, petty criminal.Nelly, a bored wife, leaves her husband for Loulou, an unemployed, petty criminal.
- Director
- Writers
- Stars
- Awards
- 4 nominations total
Bernard Tronczak
- Rémy
- (as Bernard Tronczyk)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
6.63.9K
1
2
3
4
5
6
7
8
9
10
Featured reviews
Modern French Film
Maurice Pialat's portrait of contemporary France mocks prosperity as a substitute for social and sexual revolution. Nelly abandons her bourgeois friends and a steady relationship for the unemployed layabout Loulou, whose charms include focusing his energy into sex.
As noted, this film was directed by Maurice Pialat. For the average person, the name Pialat means nothing. But he may be one of the best French directors of the last 25 years, what might be called the post-New Wave, perhaps. And "Loulou" in retrospect may be his most accessible work because it stars Isabelle Huppert and Gérard Depardieu, two of the biggest French stars of their era.
I don't have much to say on the film itself because it was not a story that appealed to me. Technically well-made, and an interesting showcase for Depardieu if you like seeing him in bed. But not my sort of plot.
As noted, this film was directed by Maurice Pialat. For the average person, the name Pialat means nothing. But he may be one of the best French directors of the last 25 years, what might be called the post-New Wave, perhaps. And "Loulou" in retrospect may be his most accessible work because it stars Isabelle Huppert and Gérard Depardieu, two of the biggest French stars of their era.
I don't have much to say on the film itself because it was not a story that appealed to me. Technically well-made, and an interesting showcase for Depardieu if you like seeing him in bed. But not my sort of plot.
Pilat strives for realism, and succeeds
This is the pathetic story of a woman who leaves her well-off and educated husband for Loulou (Gerard Depardieu), an unemployed ex-con. The storyline doesn't deviate much from this premise outside of a few interesting anecdotes here and there, and the rest of the film is spent on depicting the interactions between the characters.
So why does this simple film deserve eight stars? In my opinion, it's because Pialat has focused his attention on a single element that dominates all aspects of its development: realism. Characters depicted are paradoxical and confused, just as many people are when it comes to love and relationships. There is no soundtrack to distract the viewer. Perhaps most interesting of all is the way the film is written and acted; every line seems spontaneous, not scripted and polished. Because of this, the film really succeeds in the impression that you really are looking through a window into people's lives. It's all great cinema; the techniques used in this film really should be used more frequently.
Make no mistake, though: this is an actor's film. All three of the leads are equally brilliant. We can feel the raw emotion when one of them make a sudden outburst, though we may not always understand their motivations. This movie certainly would not have been the same without them.
I recommend this film to anyone who enjoys art-house cinema.
So why does this simple film deserve eight stars? In my opinion, it's because Pialat has focused his attention on a single element that dominates all aspects of its development: realism. Characters depicted are paradoxical and confused, just as many people are when it comes to love and relationships. There is no soundtrack to distract the viewer. Perhaps most interesting of all is the way the film is written and acted; every line seems spontaneous, not scripted and polished. Because of this, the film really succeeds in the impression that you really are looking through a window into people's lives. It's all great cinema; the techniques used in this film really should be used more frequently.
Make no mistake, though: this is an actor's film. All three of the leads are equally brilliant. We can feel the raw emotion when one of them make a sudden outburst, though we may not always understand their motivations. This movie certainly would not have been the same without them.
I recommend this film to anyone who enjoys art-house cinema.
Great dialogue, even better if you understand the original
Given the exhaustive and thoughtful review by the previous poster, I won't be redundant. This movie contains one of the best lines I've ever heard: As Nelly rides away with LouLou on his motorcycle, Andre poutfully spouts (rough english) "But you can't discuss books with him!"; Nelly replies "I don't discuss books, I read them!".
Priceless.
Priceless.
The first Pialat movie I watch....
Depardieu plays convincingly (and with charm) the bum-leech-delinquent of the title; he is also the "heartthrob" (?) of the film, while Huppert is equally fine as Nelly, the middle class woman who falls in love with him. I think Pialat is pointing out the complexity and sometimes irrationality of human behavior, while (a bit like Pasolini) he also tries to look at the humane and tender side of the scoundrels. (5/10)
Loulou is loo-loo.
This is quite a dull movie. Well-shot with realistic performances especially a very good one from Depardieu as a cad and bad boy with realistic locations mood and art-house connotations all over, it fails because the director takes no position, stand or critical commentary on the topic he stipulates. One of France's revered and regular working partner on films with Depardieu - I believe they made 7 together - Pialat fails to engage. It seems to be a treatise on why women fall for the bad boy who will hurt when they have a ready caring boyfriend and good-hearted husband around. Isabelle Hupert who plays the philanderer with nonchalant distinction offers opprobrium answers like "I don't know"; "I like his arms"; "I like the way he makes love" to her inquiring husband who tries to kick her out of the house but palliates and reconsiders because... I assume he loves her. So he accepts and hope for what? That she will one day wake up and come to her senses. Things like this are not answered in Pialat's condescending docu-drama style with long speeches and even longer scenes that don't add up. I know the answers do not add up but please take a stand. Jules et Jim, this is not. The final shot as cold as the movie we have just watched is a heartache and headache only to the most forgiving.
Did you know
- TriviaThe first of four collaborations between director Maurice Pialat and actor Gérard Depardieu. They would later reunite in Police (1985), Under the Sun of Satan (1987) and The Son Of... (1995).
- Alternate versionsThe New Yorker Films American DVD release is the edited version eg the first sex scene between Loulou and Nelly is much longer in the video edition.
- ConnectionsFeatured in Sneak Previews: Victory/Condorman/Loulou/Under the Rainbow (1981)
- SoundtracksCélimène
(David Martial (as D. Martial) - Gilles Sommaire (as G. Sommaire) )
par David Martial (as D. Martial)
Disques CBS. Editions Bagatelle
- How long is Loulou?Powered by Alexa
Details
- Release date
- Country of origin
- Official site
- Language
- Also known as
- Der Loulou
- Filming locations
- La-Queue-en-Brie, Seine-et-Marne, France(lunch party)
- Production companies
- See more company credits at IMDbPro
Box office
- Gross worldwide
- $1,343
- Runtime
- 1h 41m(101 min)
- Sound mix
- Aspect ratio
- 1.66 : 1
Contribute to this page
Suggest an edit or add missing content






