Word: lola
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Young Girls of Rochefort -- Jacques (Lola, Umbrellas of Cherbourg) Demy's fabulous Cinemascope musical with a great Michel Legland score and the cast of the year: Catherine Deneuve and Francoise Dorleac pursued by Gene Kelly (looking a young 35) and Jacques Perrin, while Michel Piccoli and Danielle Darieux watch from the wings. The color photography radiates day-light and Demy steadfastly resists all but the joyful aspects of romance
...films that were either too flawed or too offbeat for commercial distribution. The program directors' taste in revivals remains impeccable. Jean Renoir's Toni, made in 1934, is a gentle, loving tribute to the peasants of pre-Civil War Spain. The uncut version of Max Ophuls' Lola Montes (1955), never commercially released in the U.S., is one of the most sumptuous romances ever filmed. Among the other festival highlights...
...strong trend toward change in the Roman Catholic Church. Some participants warned that "liber alism" prepares the way for Communist infiltration of the U.S. and the Church. On hand were representatives of militantly anti-Communist groups ranging from the Young Americans for Freedom to the Cardinal Mindszenty Foundation. Lola Belle Holmes, a Negro who identified herself as a former undercover agent for the FBI within the Communist Party, declared that it is out "to capture the Catholic Church." The nation's only hope for leadership, she added, is George Wallace...
...unlike Godard's Le M*epris), Demoiselles is less a synthetic than Cherbourg because of its reliance on apparently natural light sources and location sets. A ubiquitous sunlight links the interiors to the outdoor shots much better than Demy's style is able to do and, as in his Lola and Baie des Anges, shines brightly through the entire film. Demy's style is a strange hybrid. The superb interiors owe much to Godard (Une Femme Est Une Femme, Le Mepris, Pierrot le Fou) and succeed in filling the cinemascope screen with inventive precision; on the other hand, the exteriors...
...solid training as a serious musician, mostly under the eye of the French master Darius Milhaud at Mills College in Oakland, Calif. In twelve extensive, complex vocal movements, it traces a series of meditations on the universality of faith, with textual fragments drawn by Brubeck and his wife lola from the Gospels and Psalms. What little jazz there is in the score is far removed from the usual Brubeck sophistication: it is a more primitive, elemental sort, blended with folk overtones (including, at one point, a bit of Turkey in the Straw), depicting the rejoicing of the people of Galilee...