The cover image gives some idea of the beauty of this film, and of its delicacy. Lola is an amazing creation by Anouk Aimee in the title role; she is by turns frothy, charming, scatty, a caring mother, as fragile as a doe and as lovely, and resilient too. A little like in The Philadelphia Story or Les Enfants du Paradis, or Rohmer's A Winter's Tale, the heroine is caught between three men, but one of them is out of reach, and he is the only one she really wants. However he has returned and she keeps having near misses while thinking he is still on the other side of the world ... The film opens up beyond this, however, in the form of a subplot in which we see a young girl fall for one of the unhappy two and experience a first infatuation with this sailor exactly as Lola had done for the man on whom everything now depends still. We get a sense of repetition and the working of fate that is incredibly touching, it is so lightly held. In this way it is exactly in the image of the heroine. The whole thing is devastatingly romantic and the subtle reflections multiply and make it even more exquisite. It is shot in widescreen and gives a very atmospheric evocation of Nantes with its covered arcade, to which Jacques Demy would return in later films ... the soundtrack features Beethoven's 7th symphony in a stroke of genius that provides a granite-like sense of destiny alongside the fabulous delicacy of the plot and its fascinating heroine. Frankie also provides a freewheeling blond charm as the sailor, set against the bookish, existential angst of the other suitor. The real thing, driving around in a white suit and car, makes you wonder if you wouldn't have gone for Frankie if you'd been her, but subjectivity is at the heart of passion and the film makes us realise this too.