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Model Shop (1969)

M  -  Drama  -  1 April 1969 (USA)
6.5
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Ratings: 6.5/10 from 450 users  
Reviews: 24 user | 18 critic

George Matthews is a young man who is having a bittersweet affair with a French divorcée in Los Angeles. Waiting to be drafted, he is unable to commit himself to anything or anybody, ... See full summary »

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Title: Model Shop (1969)

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Cast

Cast overview:
...
...
George Matthews
Alexandra Hay ...
Gloria
Carol Cole ...
Barbara
Tom Holland ...
Gerry (as Tom Fielding)
Severn Darden ...
Portly Man
Neil Elliot ...
Fred
Jacqueline Mille ...
Model No. 1
Duke Hobbie ...
David
Anne Randall ...
Model No. 2
Craig Littler ...
Rob
Hilary Thompson ...
Girl Hippie
Jon Lawson ...
Tony
Jeanne Sorel ...
Secretary
Jon Hill
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Storyline

George Matthews is a young man who is having a bittersweet affair with a French divorcée in Los Angeles. Waiting to be drafted, he is unable to commit himself to anything or anybody, including his girlfriend Gloria. While trying to raise money to prevent his car from being repossessed, George is attracted to Lola, a Frenchwoman who works in a "model shop" (an establishment which rents out beautiful pin-up models to photographers). George spends his last twelve dollars to photograph her, and discovers that she is as unhappy as he. Although Lola is unwilling to respond to George, their brief night of lovemaking gives both the will to deal with their respective problems. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

A love story of America with the touch of now. From the maker of "The Umbrellas of Cherbourg"... starring the woman from "A Man And A Woman" and the man from "2001." See more »

Genres:

Drama

Certificate:

M | See all certifications »
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Details

Country:

|

Language:

Release Date:

1 April 1969 (USA)  »

Also Known As:

Das Fotomodell  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs

Runtime:

(TCM Print)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Harrison Ford was Jacques Demy's first choice for the main character instead of Gary Lockwood, but Columbia didn't want Ford, saying he wouldn't make any money. Demy's wife Agnès Varda shot a screen test of Ford, clips of which are included in her documentary The Beaches of Agnès (2008). See more »

Quotes

Lola aka Cecile: [Lola is modeling for George, whose photo session is just about over] You have only one left. If you want me to do anything...
George Matthews: I like what I've got.
Lola aka Cecile: You don't seem particularly interested in photography.
George Matthews: I'm not. I'm more interested in you. Besides, I don't think the guys who come here give a damn for the art of photography, do they?
Lola aka Cecile: I don't judge the customers. It's not my concern.
George Matthews: It's kind of degrading work, isn't it? Why do you do it?
Lola aka Cecile: To make my living... But I don't like this word, "...
[...]
See more »

Connections

Follows The Umbrellas of Cherbourg (1964) See more »

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User Reviews

 
The French New Wave comes to Los Angeles...not a big night at the movies, but pleasant enough
12 October 2009 | by (las vegas, nv) – See all my reviews

Gary Lockwood cuts an amusingly masculine presence on the screen: dressed in T-shirts and blue jeans, chain-smoking and driving a revamped jalopy--his hair combed down over his forehead like a teenage car mechanic--he's like a walking centerfold out of Tiger Beat. Lockwood plays an unemployed denizen of Los Angeles who follows peculiarly glamorous Anouk Aimée one afternoon down the city street and into a model shop (where men can photograph girls--look but don't touch). She's a French immigrant who'll be returning home soon (something to do with her papers), and he's been drafted and about to have his car repossessed. Certainly a one-night-stand is all these two lovelies can afford, but the things they talk about, the connection they make, may last a whole lot longer. Director Jacques Demy seems to have fallen in love with late-'60s L.A., and much of the movie is spent just following Lockwood around from place to place. It isn't right to say the picture meanders (it hasn't got agenda enough to actually meander), though it does feel mighty thin. Films based upon character discussion are apt to tire some viewers' patience, but those in the mood for a low-keyed, would-be love story could certainly do worse. Lockwood is cut from the same cloth as Adam Roarke or Robert Forster: boyish but solemn, perhaps a loner, and of very few words. Still, he connects with the audience right away on an intrinsic level (you trust him) and his final scene on the telephone is a winner. **1/2 from ****


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