MOVIES
Pialat, one of the unsung geniuses of modern film, was a perfectionist whose mastery of the naturalistic style gives the lie to the notion that realism has to be dull. The pacing in Loulou is never too slow or fast - Pialat's respect for the complexities of character allows the actors to fill their roles, and the characters' actions to flow, with a conviction and clarity that seems inevitable. There's no plot in the usual sense, but there's a certain logic to the way the relationship develops between Nelly and Loulou. Pialat always cuts on movement, lending the transitions an ease that blends with the viewer's thought. A striking example of this technique is a lengthy backyard picnic scene in which Nelly is introduced to Loulou's relatives. Rarely does one witness a scene so natural and yet so rich in detail. The fly-on-the-wall effect, as if we were simply observing people behave, disguises the vibrant energy and gentle humanism of the style. Since moralism is not imposed on the characters, we are allowed to see them in their varied aspects. Marchand's character can be infuriating, but his sadness, need, and genuine concern for Nelly also comes through. In the title role, Depardieu expertly conveys the heedless and inarticulate attitude of a man with little regard for the future. It's a tribute to his skill as a performer, as well as to the intelligence of the direction, that Loulou isn't a mere symbol of Nelly's desire, but resists the easy judgments that we are tempted to make of him. Finally, it is Huppert who centers the film--at 25 she was already a powerful presence--with her shifting moods, laughter, confused impulses and mental sharpness. Not a victim, villain, or saint, Nelly is very much the author of her own decisions and mistakes.
Apparently autobiographical in content (it was co-written by Pialat and his ex-lover Arlette Langmann), the movie satirizes the comfort and prosperity of people who are out of touch with what it means to be alive, contrasting with the risk and messiness of real emotional engagement. The picture has a reputation for being very sexual, but it seems to me that it merely gives sex its due as a vital need and a necessary aspect of a relationship. It's not exaggerated or invested with undue significance. Overall, the honesty of Pialat's approach to narrative, his careful avoidance of dramatic convention, gives his work a freshness that invigorates and delights the mind. The picture doesn't evoke facile emotional responses. It feels neither joyous nor depressing, but simply and satisfyingly real.
Loulou is available on DVD.
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