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Maurice Pialat$
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Marja Warehime

Print publication date: 2011

Print ISBN-13: 9780719068225

Published to Manchester Scholarship Online: July 2012

DOI: 10.7228/manchester/9780719068225.001.0001

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Family portraits II: Loulou, A nos amours and Police

Family portraits II: Loulou, A nos amours and Police

(p.95) 5 Family portraits II: Loulou, A nos amours and Police
Maurice Pialat

Marja Warehime

Manchester University Press

This chapter explores the films Loulou, A nos amours and Police. The common theme of these three films is that they are all in some respects family portraits. The scenario for Loulou, written by Arlette Langmann, was based on the break-up of the writer's relationship with Pialat over her affair with Dédé. A nos amours was only one of a number of films in the 1980s that was based on a father–daughter storyline, often with incestuous overtones. The attention paid to the father–daughter narrative also reflects the fact that within French society genetic engineering and changes in inheritance laws put the position of the father within the family in crisis. The impetus for the film that became Police was provided by a dinner to which Toscan du Plantier invited Pialat and Gérard Depardieu, hoping to re-establish cordial relations between them. The film Police is centred around the story of three brothers, in which he tries to convey the subtleties of the brothers' relationship.

Keywords:   Maurice Pialat, Loulou, A nos amours, Police, family relationship

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