19 reviews
There is something very beautiful about it though I feel I can't just put my finger on it but it is super simple yet super effective and impacting movie and performance especially by Isabelle Huppert...she is so vulnerable, simple, sad and natural...
The student from Paris and his friends are intellectuals. He reads Le Monde. He is stamped by his background. The girl is in love with love. Everywhere she turns, there is love and passion evident, even through the hotel's thin walls. She only wishes to please and outwardly doesn't project herself as a self-regulated person. Her lower class background is clear before she goes on vacation where she meets the student. Although they stay in the same hotel, this is about the only thing they have in common beside the bed they share, but being removed from their normal lives just delays the obvious. Love is idyllic at first for everyone. She is hopelessly adrift among his friends in Paris and cannot communicate with them. This class based depiction is consistent with how many French view that one's birth divides a person from the other classes.
The class-based system exists here in the South, but I have a feeling that passion and love and familiarity more readily breaks down barriers than those 30 years ago in France.
This is a movie well worth seeing.
The class-based system exists here in the South, but I have a feeling that passion and love and familiarity more readily breaks down barriers than those 30 years ago in France.
This is a movie well worth seeing.
I understand that this is the film that brought Isabelle Huppert, already the accomplished veteran of over 20 films and yet just 22-years-old, to the forefront of the French cinema. It is not hard to see why. She is apple sweet in her red hair and freckles and her pretty face and her cute little figure playing Pomme, a Parisian apprentice hairdresser. She is shy about sex and modest--just an ordinary French girl who hopes one day to be a beautician. Along comes François (Yves Beneyton) a tall, handsome, young intellectual from a petite bourgeois family who sweeps her off her feet.
They set up housekeeping and eventually he gets around to introducing her to his family. Alas, Mom finds the girl "decent," and ...well, it's rather predictable. You should watch. I've seen the story a number of times, and I find it rather painful, especially because in this case Huppert is so incredibly sweet and adorable. It is a naturalistic love story, like something from a nineteenth century novel, sad, compelling, bittersweet and ultimately tragic in an all too familiar way.
Claude Goretta's direction is lean and finely cut, and he does a great job with Huppert. There are moments of pure genius, especially the stunning final shot in which Pomme suddenly turns to the camera, on her face a vaguely hopeful, enigmatic expression. It lingers just long enough so that we realize this really is the end, and the lights are about to come up. The shot is especially effective because we can see the posters from Greece on the walls that reveal that what she just told François was a kind of proud make-believe story. Also very well done without undue emphasis is the scene where Pomme goes to him at the window in their apartment, presenting herself to him, so to speak, her naked little self so vulnerable, and he is not interested. Nothing more need to be said. It is like the turn in a sonnet: everything changes.
Without the beguiling child-like, but deeply experienced and finely expressed performance by Mademoiselle Huppert, this film would still be good, but nothing special. She carries the film: her timing, her intense concentration, her sense of who she is and how she feels at every moment is just perfect. She is exquisite.
For those of you familiar with the work of Isabelle Huppert, this is a film not to be missed.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
They set up housekeeping and eventually he gets around to introducing her to his family. Alas, Mom finds the girl "decent," and ...well, it's rather predictable. You should watch. I've seen the story a number of times, and I find it rather painful, especially because in this case Huppert is so incredibly sweet and adorable. It is a naturalistic love story, like something from a nineteenth century novel, sad, compelling, bittersweet and ultimately tragic in an all too familiar way.
Claude Goretta's direction is lean and finely cut, and he does a great job with Huppert. There are moments of pure genius, especially the stunning final shot in which Pomme suddenly turns to the camera, on her face a vaguely hopeful, enigmatic expression. It lingers just long enough so that we realize this really is the end, and the lights are about to come up. The shot is especially effective because we can see the posters from Greece on the walls that reveal that what she just told François was a kind of proud make-believe story. Also very well done without undue emphasis is the scene where Pomme goes to him at the window in their apartment, presenting herself to him, so to speak, her naked little self so vulnerable, and he is not interested. Nothing more need to be said. It is like the turn in a sonnet: everything changes.
Without the beguiling child-like, but deeply experienced and finely expressed performance by Mademoiselle Huppert, this film would still be good, but nothing special. She carries the film: her timing, her intense concentration, her sense of who she is and how she feels at every moment is just perfect. She is exquisite.
For those of you familiar with the work of Isabelle Huppert, this is a film not to be missed.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
- DennisLittrell
- Apr 28, 2002
- Permalink
What can I say about this movie? It reduced me to tears in 1977, and again in 2003. It doesn't stand up to over analysis, but it rings so absolutely true... which has given the film it's resonance down the years. Isabelle Huppert's performance is sublime, and the last scene one of the most heartbreaking in cinema.
- musiclovers11
- May 8, 2003
- Permalink
Who knows why we retain the memory of some films and others remain a forgotten blip. "The Lacemaker" stayed with me over the years. I thought Isabelle Huppert played a marvelous part, and the story line fascinated me. I can still feel the sadness of her character when she was rejected by her lover, and then paid the price for her addiction to him. Films like "Blade Runner," "Murmur of the Heart," "Experience Preferred but not Essential, " The Unbearable Lightness of Being," "Closely Watched Trains," and a host of other good films will always be special to me, but not as endearing as "La Dentelliere."
Beatrice is a very reserved and quiet young woman. Her friend Marylene is left by her lover and brings her to Cabourg (Normandy) for a few days' vacation. There, Beatrice, an apprentice hairdresser, meets Francois, a middle-class intellectual. Francois becomes her first lover, but their social and cultural differences get in the way of happiness.
This film is highly praised and indeed it is a pretty good film. Not my favorite, not one I am likely to recommend to others, but a fine film just the same. What I liked most is that the movie says it is okay to be an introvert, to be a wallflower, to be a loner. Other movies might have a shy kid breaking out of their shell, but here we have Beatrice who knows who she is and is (for the most part) very comfortable about it.
This film is highly praised and indeed it is a pretty good film. Not my favorite, not one I am likely to recommend to others, but a fine film just the same. What I liked most is that the movie says it is okay to be an introvert, to be a wallflower, to be a loner. Other movies might have a shy kid breaking out of their shell, but here we have Beatrice who knows who she is and is (for the most part) very comfortable about it.
On the whole, the user comment by Dennis Littrell above is excellent. But even excellent comment may contain doubtful details. I do not agree that Pomme was proud and hopeful.
When Francois visited Pomme at the mental hospital, she told him that she had had other lovers and had been in Greece with one of them. This was obviously not true. Then why did she say so? Dennis Littrell thinks that she was proud. I take him to mean that Pomme would give Francois the impression that she was quite capable of going on living without him.
I cannot imagine that she could have such motives. Although SHE is the one who became sick when he abandoned her, and even so ill that she had to attend a hospital, HE is the one who "needs" support from two friend when he goes to see her, and HE is the one who cries (when nobody sees it). My conception is that Pomme even here revealed her good heart. She tried to make things easy for Francois – he should not need to have any feelings of remorse because of what he did to her.
Moreover, I disagree that Pomme's face in the last shot shows a vague hope. I think that it reveals the greatest hopelessness.
One Swedish reviewer wrote that things go bad when Francois lets Pomme remain at her own level, and they go bad when he tries to draw her up to his level. – But this is double nonsense. Things are excellent when he accepts her as she is. Moreover, Pomme is realistic. FIRST Francois must finish his study, and afterward they may see what they can do about her. At the present time they cannot even afford to go to the cinema without saving the money elsewhere.
Much more important is the other side of the coin. Pomme would really love to be like Francois. In a bookshop she looks at the volumes with paintings by famous artists. But she cannot learn to understand such things without help. And the idea never strikes Francois that he might help her. He just scolds her for being as she is.
There are several key scenes. In one of them Pomme is afraid of crossing a street full of motorcars. Francois had soon run over, and now he is standing there and shaking from impatience and irritation. The idea never occurred to him to take her hand and lead her over the street. And when she asks him what is the meaning of the word "dialectic", he gives her no reasonable answer.
By and large, the idea of "sexual Samaritans" is unrealistic. Extremely few people are prepared to sleep with another individual toward whom they feel little attraction and expect no other gain. There are nevertheless a few unusual situations in which I would seriously recommend such things. Francois just throws Pomme away, giving no thoughts to the consequences. He does no even participate in the last meal, when he is at home in front of her and will drive her to her mother's home as soon as the meal is over.
I claim that Francois did have enough personal strength to continue the relation a little longer, and to try to make the break more gradual and as little harmful to Pomme as possible. He could have seen her sometimes after she had moved to her mother, and he could sleep with now and then for a while.
I do think that he had an amount of responsibility for her, and should have done something to help her overcome the breaking of their relation.
When Francois visited Pomme at the mental hospital, she told him that she had had other lovers and had been in Greece with one of them. This was obviously not true. Then why did she say so? Dennis Littrell thinks that she was proud. I take him to mean that Pomme would give Francois the impression that she was quite capable of going on living without him.
I cannot imagine that she could have such motives. Although SHE is the one who became sick when he abandoned her, and even so ill that she had to attend a hospital, HE is the one who "needs" support from two friend when he goes to see her, and HE is the one who cries (when nobody sees it). My conception is that Pomme even here revealed her good heart. She tried to make things easy for Francois – he should not need to have any feelings of remorse because of what he did to her.
Moreover, I disagree that Pomme's face in the last shot shows a vague hope. I think that it reveals the greatest hopelessness.
One Swedish reviewer wrote that things go bad when Francois lets Pomme remain at her own level, and they go bad when he tries to draw her up to his level. – But this is double nonsense. Things are excellent when he accepts her as she is. Moreover, Pomme is realistic. FIRST Francois must finish his study, and afterward they may see what they can do about her. At the present time they cannot even afford to go to the cinema without saving the money elsewhere.
Much more important is the other side of the coin. Pomme would really love to be like Francois. In a bookshop she looks at the volumes with paintings by famous artists. But she cannot learn to understand such things without help. And the idea never strikes Francois that he might help her. He just scolds her for being as she is.
There are several key scenes. In one of them Pomme is afraid of crossing a street full of motorcars. Francois had soon run over, and now he is standing there and shaking from impatience and irritation. The idea never occurred to him to take her hand and lead her over the street. And when she asks him what is the meaning of the word "dialectic", he gives her no reasonable answer.
By and large, the idea of "sexual Samaritans" is unrealistic. Extremely few people are prepared to sleep with another individual toward whom they feel little attraction and expect no other gain. There are nevertheless a few unusual situations in which I would seriously recommend such things. Francois just throws Pomme away, giving no thoughts to the consequences. He does no even participate in the last meal, when he is at home in front of her and will drive her to her mother's home as soon as the meal is over.
I claim that Francois did have enough personal strength to continue the relation a little longer, and to try to make the break more gradual and as little harmful to Pomme as possible. He could have seen her sometimes after she had moved to her mother, and he could sleep with now and then for a while.
I do think that he had an amount of responsibility for her, and should have done something to help her overcome the breaking of their relation.
- scharnbergmax-se
- Jun 13, 2007
- Permalink
The Lacemaker, 1977, its oblique sexual politics appear dated twenty-five years later. Pascal Laine (author) and Claude Goretta would have us believe that the young male student's callowness leads to heartbreaking tragedy for Huppert's character. Twenty-five years later that assertion seems callow itself, and shallow political nonsense. Healthy young women are not so helpless. I understand the movie as a love story (intimate nudity is substituted for sex, and any love they may have shared we must take on faith) concerning two pathologically depressed people. They are drawn together by their mutual recognition and the hope that the other can alleviate their individual suffering. Of course, they discover that their depression prevents any real intimacy.
- writers_reign
- Aug 14, 2005
- Permalink
I am very sorry to confess, that Isabelle Huppert's acting is very poor and unnatural. I mean, the movement, the manners - so statuesque and frozen. Overall she had made a portrait of the main character, but it seems, that she is not professional at all.
- suzzie_szz
- Mar 3, 2021
- Permalink
Class differences are extremely detrimental to human relationships especially to relationships which involve love between a man and a woman.However hard one may try,one cannot really get rid of class differences in daily lives.Swiss film 'The Lacemaker' is sincere in its depiction of a tender love affair which was bound to fail from its inception.Based on a Goncourt prize winning novel by Pascal Lainé, 'La Dentellière' reveals actress Isabelle Huppert in one of the most sensible roles of her acting career.It is with great confidence and ease that she plays the role of a shy woman who is not too enthusiastic about getting into relationships with men.However,a chance meeting with an intelligent boy changes her life for good.La Dentellière succeeds as it depicts how vulnerable some women can be.It is neither anti women nor pro men but it has something for intelligent viewers who would like to be impartial judges of male female relationships.Those who have deep knowledge of French cinema would not fail in recognizing young actress Sabine Azéma playing a minor role.
- FilmCriticLalitRao
- Jul 20, 2015
- Permalink
Within the first few minutes of watching this dismal, dull, uneventful film I recalled one of my favorite Roger Ebert reviews (it was for "Hell Night", 1981), where he quotes one of his friends saying "If nothing has happened by the end of the first reel....nothing is going to happen right through to the end". The rule is confirmed yet again in "La dentellière", where one directionless, shapeless, purposeless scene follows another, until the film dies its own sad little death. Isabelle Huppert's fine performance (and beautiful youthful face & frequently nude body) are its only value. 0.5 out of 4 stars.
- gridoon2024
- Feb 23, 2021
- Permalink
This film is about class, pure and simple. The shy Hubert comes from a lower class than her male lover. He can't accept her because she's not an intellectual like he is. He can't appreciate her quiet beauty because it is a nonverbal beauty, and he lives in a world of words and books.
Hubert's performance is wonderful.
Hubert's performance is wonderful.
- myriamlenys
- Jan 26, 2018
- Permalink
"La dentelliière" is "Pretty woman" (1990, Garry Marshall, difference between man and woman in wealth) or (even more) "My fair lady" (1964, George Cukor, difference between man and woman in education) without an happy end.
A student falls in love with a hairdresser. His attempts to "upgrade" her are not only an insult for the woman, but in so doing the man also destroys the woman he is in love with.
The introvert woman is played by a young Isabelle Huppert and it is hard to believe that only a year later she would play a very cynical person in "Violette Nozière" (1978, Claude Chabrol).
The film is rich in brilliant scenes. I just mention a few. (1) After meeting each other for the first time the man and the woman are searching for each other. Because each of them is looking at places where he/she expects the other they don't find one another. (2) The man introducing the woman to his parents. The father in law likes his daughter in law from the first moment. The mother in law keeps asking questions about her education and carreer opportunities. (3) The man is having heavy philosophical discussions with his study friends. When the woman aks afterwards what al these discussions were about, he is not capable of explaining it in normal words.
The film ends with a close up renimiscent of "The 400 blows" (1959, Francois Truffaut).
A student falls in love with a hairdresser. His attempts to "upgrade" her are not only an insult for the woman, but in so doing the man also destroys the woman he is in love with.
The introvert woman is played by a young Isabelle Huppert and it is hard to believe that only a year later she would play a very cynical person in "Violette Nozière" (1978, Claude Chabrol).
The film is rich in brilliant scenes. I just mention a few. (1) After meeting each other for the first time the man and the woman are searching for each other. Because each of them is looking at places where he/she expects the other they don't find one another. (2) The man introducing the woman to his parents. The father in law likes his daughter in law from the first moment. The mother in law keeps asking questions about her education and carreer opportunities. (3) The man is having heavy philosophical discussions with his study friends. When the woman aks afterwards what al these discussions were about, he is not capable of explaining it in normal words.
The film ends with a close up renimiscent of "The 400 blows" (1959, Francois Truffaut).
- frankde-jong
- Jul 16, 2019
- Permalink
- chaswe-28402
- Sep 6, 2017
- Permalink
- saner-demir
- Sep 3, 2023
- Permalink
I first saw this film as a boy and the emotional power stayed with me for over 40 years until I saw it again; and it was just as powerful.
The movie created a lasting impression on a young man about the emotional stakes involved with love and relationships. Huppert's performance is stunning, her character is young, naive, innocent and she falls in love with someone who is from a different intellectual and cultural circle, it was doomed to failure and she is discarded like some disposable domestic product - it destroys her.
In a similar way her older, more experienced colleague is just as vulnerable to the ups and downs of relationships, her story gives the film even more depth.
The final scene is quite remarkable and as unforgettable as any I've ever seen. A wonderful film.
The movie created a lasting impression on a young man about the emotional stakes involved with love and relationships. Huppert's performance is stunning, her character is young, naive, innocent and she falls in love with someone who is from a different intellectual and cultural circle, it was doomed to failure and she is discarded like some disposable domestic product - it destroys her.
In a similar way her older, more experienced colleague is just as vulnerable to the ups and downs of relationships, her story gives the film even more depth.
The final scene is quite remarkable and as unforgettable as any I've ever seen. A wonderful film.
- geoff-spurr
- Apr 14, 2024
- Permalink