Lou Andreas Sand, a once famous model, recalls her past as she tries to make success in the modeling world of New York, her stressful workdays, her affair with Mark, an advertising ...
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Daniel Moulin goes to New York on a business trip and decides to take advantage of his time in the Big Apple to try and locate the father he never knew. The only thing he has to go on however is an address in the Bronx that is 25 years old.
A young woman with a long rap sheet who steals cars for a living is befriended by a public defender who tries to steer her straight. But her goal is to steal and subsequently sell enough ... See full summary »
Two young boys from very different backgrounds become friends in 1933 Stuttgart. However, they don't realize how different they are until much later as one is the son of a well-to-do Jewish... See full summary »
Jill is surprised and angry when her computer-genius boyfriend decides to quit his job in a big company for unclear reasons. But when her children disapear mysteriously and seem to have ... See full summary »
Lou Andreas Sand, a once famous model, recalls her past as she tries to make success in the modeling world of New York, her stressful workdays, her affair with Mark, an advertising executive, her friendship with photographer Aaron, and her downward spiral into ruin.Written by
On the list of insolent photographers (with whom the main character would "never" work again) is the name Schatzberg. The name is seen clearly prior to Barbara Carrera's entrance into Dunaway's dressing room, just before she adds another name. Jerry Schatzberg is the director of the film and this is most likely an inside joke about the real model upon whom he based the character. See more »
Lou Andreas Sand:
I like your hair like that. All the men nowadays are growing their hair long. It's fabulous... *but*, you all look like Jesus! So how will we know him when he arrives?
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The ending credits show an image of Dunaway walking away in an entirely out-of-focus shot. The screen becomes smaller and smaller as the credits roll. See more »
Technical aspects far exceed the characters and performances...
Dud story about a fashion model falling apart is given such a handsome, chilly look, precise editing and lovely music passages that one is nearly tempted to call "Puzzle of a Downfall Child", at the very least, half a success. Still, Faye Dunaway isn't charismatic enough to carry the weight of a leaden character portrait, one wherein the heroine feels her soul fragmenting yet also questions whether she still possesses a soul to lose...or perhaps never had one to begin with (she is a lapsed Catholic, after all). Dunaway's model (with the self-made-up name of Lou Andreas Sand!) is flashing back on her career while an ex-paramour and colleague tape-records her shallow reminiscences of bitchy, badgering photographers and lovers. Her earliest memories (particularly her first modeling assignment posing with an unleashed falcon) are quite vivid, but there's no substance or self-effacing humor in Carol Eastman's screenplay (penned under the alias of Adrian Joyce). Director Jerry Schatzberg, who worked on the original story with Eastman, allows Dunaway too much room to wail and wither and carry on, and after awhile she's as isolated from us as she is from her work. Adam Holender's cinematography and Michael Small's music are each exquisite, and Evan Lottman's editing also deserves praise; however, these attributes are in the service of a barren melodrama so removed from reality that the episodes are practically devoid of anything interesting. It's almost as if that's the point. *1/2 from ****
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