|"C'est moi, c'est Lola": Anouk Aimee in Lola (dir. Jacques Demy, 1961).|
|Roland Cassard at dinner with Cecile and Mme Desnoyers in Lola (top) and with Genevieve and Mme Emery in The Umbrellas of Cherbourg (bottom).|
Cassard’s shifting role in the two films also speaks to Demy’s philosophy of the illusion of agency and the capriciousness of fate. A leading player in the story of his own life, Cassard is relegated to a supporting player in the story of Genevieve. Even in Lola, his role is tenuous; initially he, not Lola, seems to be the focus of the film’s plot, but she is the figure with whom the film ends, and he’s last seen as a figure in her lover’s rear-view mirror. In Cherbourg he ends up getting the girl; but his good fortune comes at the expense of Genevieve and her lover. In the perpetually spinning love roundelay of Demy’s films, c’est la vie.