Chapter

Family portraits II: <i>Loulou, A nos amours</i> and <i>Police</i>

Marja Warehime

in Maurice Pialat

Published by Manchester University Press

Published in print August 2011 | ISBN: 9780719068225
Published online July 2012 | e-ISBN: 9781781703267 | DOI: http://dx.doi.org/10.7228/manchester/9780719068225.003.0031
Family portraits II: Loulou, A nos amours and Police

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This chapter explores the films Loulou, A nos amours and Police. The common theme of these three films is that they are all in some respects family portraits. The scenario for Loulou, written by Arlette Langmann, was based on the break-up of the writer's relationship with Pialat over her affair with Dédé. A nos amours was only one of a number of films in the 1980s that was based on a father–daughter storyline, often with incestuous overtones. The attention paid to the father–daughter narrative also reflects the fact that within French society genetic engineering and changes in inheritance laws put the position of the father within the family in crisis. The impetus for the film that became Police was provided by a dinner to which Toscan du Plantier invited Pialat and Gérard Depardieu, hoping to re-establish cordial relations between them. The film Police is centred around the story of three brothers, in which he tries to convey the subtleties of the brothers' relationship.

Keywords: Maurice Pialat; Loulou; A nos amours; Police; family relationship

Chapter.  14660 words. 

Subjects: Film

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