All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Umbrellas of Cherbourg
a film for all the young lovers of the world
This simple romantic tragedy begins in 1957. Guy Foucher, a 20-year-old French auto mechanic, has fallen in love with 17-year-old Geneviève Emery, an employee in her widowed mother's chic but financially embattled umbrella shop. On the evening before Guy is to leave for a two-year tour of combat in Algeria, he and Geneviève make love. She becomes pregnant and must choose between waiting for Guy's return or accepting an offer of marriage from a wealthy diamond merchant.
The Umbrellas of Cherbourg is something of an outlier in the French New Wave canon. It's predominantly a jazz opera, highly influenced by American musicals, and yet maintains a unique sensibility that defined new wave cinema. It's shot primarily on location in Cherbourg, but the real-life locations have been given an artifice through lurid Technicolor, studio-lighting, post-modern graffiti and a pastiche of delightfully outrageous costume choices.
This could be a loose adaptation of Pagnol's Fanny trilogy, or just as easily a musical rendering of Kazan's Splendor in the Grass filtered through the pastels of West Side Story.
The Umbrellas of Cherbourg remains an utterly unique, delectable treat for the senses.
The idea of singing every single line of dialogue seems ostensibly ridiculous, so how did Jacques Demy make it seem as if there was never any other way of performing a musical? And not just your standard whimsical, epic romance. The story of Guy and Genevieve reminds us of the unforgiving nature of circumstance in a world drenched with vibrant technicolor. Melancholy has rarely looked so beautiful.
An opening Count Basie style swing number sends us finger clicking into a beautifully shot, Technicolor-land of yellows, blues and greens. When a young elegant Catherine Deneuve glides onscreen to complete the other half of this handsome couple, the spell being cast upon us is in full effect.…
Connected with Demy's debut Lola (1961), not only because taking place in the famous place of Cherbourg that was mentioned a lot, but also because of character references, such as Lola's infancy friend Roland Cassard and Lola herself, The Umbrellas of Cherbourg represents the epitome of Demy's musical delightfulness. We saw it coming since Lola, perhaps subconsciously, but now his musicals do have singing and complement the situations marvelously.
I had personally never imagined to see a director officially considered as a part of the Nouvelle Vague movement adapting the Hollywood tradition to the big screens of France with renowned actresses such as Anouk Aimée, Jeanne Moreau and Catherine Deneuve. And what was…
My Jacques Demy boxset arrived in the mail, and I didn't waste any time diving into it - starting with his most popular film. The fact that I had heard so many great things about his films, even before Criterion released this boxset, meant that I had to get properly acquainted. Blind-buying a boxset is a risky venture but I had a good feeling I wouldn't be let down.
Starting with The Umbrellas of Cherbourg, I was hit with the realization that this film is not just a musical in the traditional sense (which is all I knew going in), but a film that's entirely sung! The charcter's body language and tonal swings reflected in song just as they would…
“I can’t live without him. I’ll die.” “Stop crying. Look at me. People only die of love in movies.”
The beauty of the classical Hollywood movie musical—a uniquely American art form if ever there was one—is its intrinsic artificiality. People simply do not express their innermost feelings in instantly composed song, nor do strangers break into perfectly choreographed spontaneous dance. But choosing such an unreal mode of expression permits the musical to give voice to profoundly real emotions often left unspoken, deepening their impact.
Of course, we Americans can only take these ersatz outbursts in limited doses. The French know no such inhibitions. If an isolated song can accentuate the emotional intensity of young lovers’ adulation or heartbreak, then surely…
Enter the world of Jacques Demy, where realistic tales can unfold themselves in charming and colorful surroundings. The Umbrellas of Cherbourg is an elegant musical which feels just like pure and ordinary life.
It is a very honest form of narrating that Demy has taken into use. The story progresses in a very focused way, without taking any melodramatic turns along the way. The story is about love and establishment, were we follow a young couple in a small and charming town at the north-west coast of France. When the male part leaves for the army, the girl is put into a simple dilemma which will determine her whole future. The plot is simple, but it is something which everyone…
This may be one of the most unusual movies I have ever seen. It's a light opera but unlike Les Miserables or anything else, it doesn't utilize songs everything is just sung. I have mixed feelings about that but, one thing I can't deny is the incredible colorful design!
One of the classic film romances with a unique style. All of the dialog is sung in an atmosphere of bright colors. At first the colors scheme reflects the exuberance of the young lovers, then a contrast to the compromises the characters make. The young Catherine Deneuve is incandescent. The score is beautiful. The film builds to a moving conclusion.
wtf the fuck
You know, sometimes when you read a couple of random recommendations on the internet - and see a couple screenshots you run into a musical. I don't mean a break into song musical - I mean every word is sung musical - and if I put a little research into what I was renting I would've known that - but that's the risk I run.
Now, I wouldn't say that there was something wrong with this film - it just didn't do it for me. The story was a classic romance - with decisions that are only made in musicals and Disney films - such as the love at first sight trope. The singing was beautiful - but I could've…
Catherine Deneuve. Check.
Umbrellas - Symbol of Romanticism. Check.
Soaked in Eastman Colors. Check.
Like The Graduate, this is just one of those overwhelming emotional experiences for me, so it'll probably take another viewing or so to fully suss out its visual mastery. Realize that the operatic nature of this will probably seem unbearable to some (which Demy winks at in the small exchange at the garage shop: "I don't like operas... All that singing / Gives me a pain ... I like movies better"), but I'm just grateful I'm not one of those people. This is almost unquestionably Demy's masterpiece, or at the very least, it's the film where his singular vision is most fully realized (from the delectable use of color to the insular, almost alternate reality that the characters inhabit).…
The film fills my heart with emotions. Such a beautiful film, the music is so wonderful, the main theme is so sweepingly romantic but in it's variations it's also mournful of the loss of love and the fear of losing love. It is one of the greatest pieces of music in film and whenever I hear it my heart sings. The film is very operatic and is split into three acts, the first of which is the most heart wrenchingly sad. The scene at the train station really does break my heart, it is such a cinematic moment that represents the end of young love but before that Deneuve's devastatingly naive confession that she can't live on without her lover…
Bad Treadmill movie. The heart-punching last 10 minutes were hard to see through a cascade of assorted face salt waters.
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!