Sculptor Paul meets a former great love again after a long time -- but is much more impressed by her 15 years old daughter Laura, who looks now like her mother when Paul was in love with ... See full summary »
Sculptor Paul meets a former great love again after a long time -- but is much more impressed by her 15 years old daughter Laura, who looks now like her mother when Paul was in love with her. Laura likes him very much too, but her jealous mother prevents any further contact. She allows him to make a sculpture of Laura, but only from photos. Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
Debut feature film of actress Dawn Dunlap. This film is the most well known performance of lead actress Dunlap who ended up stopping working in films during the mid 1980s a few years after this movie was made. See more »
David Hamilton does a great job expressing his seeming obsession with pre-pubescent ballet dancers in Laura, Les Ombres De L'ete. Possibly one of the worst (and most boring) "art house" pictures ever made, professional photographer/amateur filmmaker Hamilton drowns in his excessive use of soft focus, pseudo-artistic fadeouts, and nudity, devices employed to make up for the shallow plot.
After seeing teenaged Laura (Dawn Dunlap) at ballet class, sculptor Paul Thomas Wyler (James Mitchell) knows that he must sculpt this beautiful little girl, just as he had done with her mother Sarah (Maud Adams) 20 or so years prior. But Sarah can see through his superficial intentions and tries her best to keep her very curious daughter from posing for this oh-so-artistic womanizer.
Laura contains several sequences of excessive nudity (mostly of young Dunlap) and there is no doubt that Hamilton's subjects are quite attractive; in fact, the photo-shoot scenes, with Sarah taking endless pictures of her naked daugher prancing around (including a few gymnastic poses), are certainly provocative. But like Hamilton's other exploitative French productions, the story is built around these sequences and without them there is little else to interest the viewer. The film comes across as heavy-handed, pretentious, and, ultimately, empty. Some termed this soft-core when it was released but the film simply isn't graphic enough to qualify for the category. -- David Ross Smith
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