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This could be the most stunning, recent, romantic movie ever made. Every bit of dialogue is sung (but there are no “musical” numbers), and it’s filmed in Shiny pastels, beautifully restored in this print (the film was originally released in 1964, and was the Cannes Film Festival Expansive Prize winner) . In French, with English subtitles, Letterbox (1.66:1, so it looks dazzling even on a tiny TV) . Young girl (Catherine Deneuve, gorgeous in her first film) who works for her mother in an umbrella shop, “Les Parapluies de Cherbourg” – hence the title – and young garage mechanic (Nino Castelnuovo) philosophize their undying fancy for one another, he goes off to war, she finds herself pregnant, and she must compose some decisions which will forever affect the lives of at least four people. Underneath its delicate and lighthearted glance and feel is a very serious and consuming legend. The entire word-for-word/song-for-song soundtrack/dialogue is also available on 2 audio CDs – Les Parapluies de Cherbourg – Sony ISBN 7464626782. Directed by Jacques Demy, music by Michel Legrand. Several of the musical themes have entered into the cultural consciousness, and if you’ve never seen this movie before, when you spy it you may experience a superb sense of recognition, i.e., “So that’s where that song came from!” You’ll appreciate it! END
There really isn’t another film quite like THE UMBRELLAS OF CHERBOURG. For instance, every line of dialogue in the movie is sung, yet apart from the heartbreakingly sparkling “I Will Wait for You,” there are no songs. So, is it a musical? In obtain it seems more like an operetta. Musically, the dialogue is loosely organized, though clear musical themes are repeated often, and it lightly sung, none of the performers coming across as highly trained professional singers. Overall, the music, despite the presence of only one song, is entrancing.
As delicate as the music is, I actually found the film to be more riveting on a purely visual level. For instance, inn scene after scene, I found myself focusing on the art build rather than the music. Demy frames most of his shots against backgrounds of more or less solid and striking colors–green walls, blue-stripped wallpaper, unusually painted building. Demy also employs a host of subtle camera angles and techniques. The film is unquestionably as worthy for the eyes as for the ears.
Most members of the cast were unknown to me, except, of course, for the surreally sparkling Catherine Deneuve, who was nineteen during most of the production of the film. She exudes star quality throughout. But none of the performers fails at all in their roles, though none of the others was the budding star that she was. One thing that struck me about all of the characters was that while the chronicle told is essentially a tragic one–or at least a bittersweet one–there are really no poor guys. Marc Michel, for instance, who plays Deneuve’s wealthy suitor Roland Cassard, is a thoroughly likable person, even admirable. She clearly doesn’t worship him, but in no conceivable sense is he a awful person. Nino Castelnuovo’s character Guy Foucher, for whom Deneuve’s Geneviève Emery has asserted she “wait forever” turns out to be an inconstant correspondent, but apart from that he does nothing actively unkind to Geneviève. Geneviève’s mother might push her towards Roland and away from Guy, but she is clearly motivated by a care for of her daughter. The movie could have been subtitled: “A Tragedy with No Villains.” The film is about fancy, but it is sadly not a esteem epic. In a procedure, it deconstructs the kind of romantic myths that dominates the musical genre. This is the anti-Disney version of the possibility of eternal worship.
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