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Golden Eighties (1986)

 |  Comedy, Musical  |  1992 (USA)
6.7
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Ratings: 6.7/10 from 125 users  
Reviews: 1 user | 1 critic

Three young women at a hair salon all like the son of the clothing store proprietors across the mall. Although Robby is selfish and shallow, he's appealing to Lili, the salon's manager, ... See full summary »

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(scenario), (scenario), 3 more credits »
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Cast

Cast overview, first billed only:
...
Myriam Boyer ...
Fanny Cottençon ...
Lili
Lio ...
Mado
Pascale Salkin ...
Pascale
...
M. Schwartz
Jean-François Balmer ...
M. Jean
John Berry ...
Eli
Nicolas Tronc ...
Robert Schwartz
Roselyne Brunet ...
La coiffeuse #1
Nathalie Richard ...
La coiffeuse #6
Dominique Rousseau ...
La coiffeuse #7
Olivier Achard ...
Le garçon #1
Laurent Allaire ...
Le garçon #2
Dominique Compagnon ...
Le garçon #3
Edit

Storyline

Three young women at a hair salon all like the son of the clothing store proprietors across the mall. Although Robby is selfish and shallow, he's appealing to Lili, the salon's manager, who's trendy and also the salon-owner's moll; to Mado, who's innocent and sweet; and to Pascale, who's intelligent but passive and downcast. Robby's dad tells him to grow up and see beyond the mercurial Lili, so he proposes suddenly to Mado. She's delighted, but the day before the wedding, Lili returns to give Robby another look. In the background, a Yank who was a soldier in France in World War II returns to Paris and tries to recapture the love of his wartime sweetheart, Robby's mom. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Comedy | Musical

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Details

Country:

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Language:

Release Date:

1992 (USA)  »

Also Known As:

Window Shopping  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

Charles Denner's last film. See more »

Connections

References Les années 80 (1983) See more »

Soundtracks

Il pleut
Music by Marc Hérouet
Lyrics by Chantal Akerman
Performed by Yves Kengen, Patricia France, Pascale Salkin, Patricia Lecomte, Martine Kvitis,
Michèle Belhomme, Mino, Helena Lemkowicz, Eric Chale, Philippe Lafontaine,
, Bob DeMarco, John Slusny, Philippe Tasquin
See more »

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User Reviews

 
Not raised to the level of satire.
9 February 2003 | by (Mountain Mesa, California) – See all my reviews

The Paris based Belgian director Chantal Ackerman tries something a trifle wide of her customary metier with what one might suppose is an attempt at a pastiche of Hollywood musicals. The structure of the scenario has virtually all of the action taking place within a Parisian shopping mall, "Toison d'Or" (the name of which is the wittiest item in the film) and revolves about the romantic inclinations of young Robert, son of the owners of a ready-to-wear boutique. Robert is in love with the manager of the next-door hairdressing salon, Lili, mistress of a wealthy businessman who purchased the salon for her to keep himself in good romantic standing. Other complications involve Mado, who works for Lili and who is in love with a non-responsive Robert and an American, a former lover of Robert's mother Jeanne (Delphine Seyrig); he has returned to Paris and wishes to replicate their affair with her. Primary musical contributions are from Sylvie (Miriam Boyer) who manages a juice bar, and "The Four Boys", implanted in most scenes to give occasional observations akin to those produced by a Greek chorus. Ackerman's normal strain of pessimism is adulterated here, most often due to the seeming herds of young salon employees that pop in and out to comment upon the fickleness of lovers, and the director's deconstructive style is most evident in her lyrics for the four songs composed for this work, wherein banal eroticism generally replaces the romantic impulse, however little sense the rambling text produces. There are, as might be expected, acidic statements from Ackerman, who also contributes to the script, but her favourite subjects: politics, sexuality and identity are forced to share the screen with mundane requirements of a rather pedestrian plot. Since she must sublimate her disinterest in codified time for this linear narrative, we are spared another of her mannered exercises in cinematic semiotics, and although her production is empty of much in the way of merit, it is sporadically amusing and watching Seyrig work is always an experience to be valued.


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