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…
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…
Now, I'm pretty new to musicals, at least musicals where no one stops singing for a single second. Every line in Jacques Demy's Les parapluies de Cherbourg is in tune, and for me that took some getting used to. It was right around the time Ne me quittes pas comes to the fore, that my mood changed from bemusement to fondness. Its melody accompanies the opening credits, but it wasn't until Catherine Deneuve starting singing the lyrics that the true force of this film hit home.
The film is a period piece of sorts, with the story being set in the late 50s as Geneviève and Guy fall in love, but are separated when Guy (Nino Castelnuovo) is drafted and…
I had a feeling Demy wouldn't be for me. The sets, the color scheme, and the cinematography are all great. The main problem for me was the singing. This is a musical. Musicals should have good, preferably great singing. The singing in this was absolutely atrocious. I had more than had enough with it by the halfway mark. The film takes forever to go somewhere. Demy just meanders without purpose for the first half and just stuffs all of the plot into the second half. Even in the second half, Demy is still more concerned about the visual aesthetic than the film itself.
Watching this and YOUNG GIRLS OF ROCHEFORT back to back is one of the most thoroughly mesmerizing double features I can think of.
I really expected not to like this movie after I realized there would only be singing.
I was wrong.
Catherine Deneuve's tear-stained face is one of the most beautiful and heartbreaking images in cinema.
As Guy's aunt says "happiness makes me sad," and the sadness here is so, so rapturous.
I loved so many things about this but totally disliked others. Needs to be rewatched sooner rather than later.
Colorful is an understatement. Everything was put together with such attention to detail this could have been made by Wes Anderson's favourite uncle or something.
The ending was excellent.
They were singing everything, even their names and their yes or no answers, like opera but not really as in an impressive display of operatic skill. It didn't really work for me, I didn't expect this to happen since I'm usually ok with watching musicals.
The script for the most part annoyed me. The first act was dull, even the main characters were shallow. The second was better but still the sudden melodrama felt a bit uneven. I do have to admit they slowly set things up for a pretty great conclusion though.
No Anouk Aimee.
I wonder how I could stand 90 minutes of Catherine Deneuve's no-acting face and shitty songs about love?
I really, really, wanted to enjoy this film but I cannot stand recitative singing at all. It just gets on my nerves. Needless to say, this film wasn't a pleasant experience for me (grit my teeth through it, though). However, I will say, it is utterly BEAUTIFUL to look at. All those colours! The wallpapers! Deneuve's dresses! (And her face). And if it weren't for my intense dislike of the singing style, I'm sure I'd have loved it.
Who was throwing candies at my eyes? :)
This movie got stuck in my throat. Devastatingly beautiful. The opera-like story telling and the stark brightness that feels both chic and tattered in the last grasps of post war restoration. The final sequence between Geneviève and Guy broke my heart in a way I was pretty sure would never be broken again ... until the second to last episode of Mad Men, at least.
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!