The narrative and plot do not follow a formula. There’s another French TV special with Legrand and Demy working out the music of the film and answering some questions. ( Log Out /
The Essential Jacques Demy Collector’s Set Quick Shop Lola Jacques Demy The Umbrellas of Cherbourg Jacques Demy Quick Shop Une chambre en ville Jacques Demy The Young Girls of Rochefort Jacques Demy ... Search Criterion.com. The major plot hole for me was that the gambling was completely unrealistic. The main draw is that he cast Jeanne Moreau, who at the time was queen of the New Wave, having starred in Elevator to the Gallows, The Lovers, Jules et Jim, and La Notte. That said, since this is an ‘Essential’ box set, the movie has to be included as long as the restoration allows the film to be watchable, which it does. After the conflict dies down, the baroness speaks with her boarder, who happens to be one of the strikers. I wouldn’t call this a musical, but it does contain a few Michel Legrand songs, which the actors sing in the same manner as Umbrellas and Rochefort, clearly lip-synching. Varda is everywhere too, with two feature length documentaries that do far more than rattle of facts (and features such mind-blowing sights as Jim Morrison visiting the set of “Donkey Skin”). My blind spot are many of the American musicals from Classical Hollywood. The angelically beautiful Catherine Deneuve was launched to stardom by this dazzling musical heart-tugger from Jacques Demy. Among those is Gene Kelly, but his presence isn’t a mere Hollywood dream; usually Kelly was lit to hide a scar on his cheek, but Demy lets it, and his increasing wrinkles, be clearly visible. There are a couple of titles omitted that I wanted to see, especially Model Shop. Classics and discoveries from around the world, thematically programmed with special features, on a streaming service brought to you by the Criterion Collection. I liked how she talked about choosing roles and how she chose to work with directors regardless of the material. This is the first completed box set for this blog, although there should be another one following pretty closely behind. But anyone who’s watched one of the Frenchman’s films — perhaps his most famous, 1964’s “The Umbrellas of Cherbourg,” one of the six features collected in The Criterion Collection’s new Demy box set — knows they’re anything but downers. A father who desperately … Did they make the correct choice?
Humane, wistful, and witty, Lola is a testament to the resilience of the heartbroken. Roland tries to fill that hole in her heart, but he can’t. While this one doesn’t exactly fit tightly into the already established Demy oeuvre, it contains many elements that are familiar from his earlier films. “The Young Girls of Rochefort,” Demy’s splashy “Cherbourg” follow-up (after it won countless awards and box office dough), is filled with people haunted by lost loves, or loves who exist only in their heads. Going in, I had limited exposure to Demy, and wasn’t a huge fan of what I saw. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema. I’ll admit that for me, giving it a second try with this Blu-Ray disc, it was not easy to get absorbed into this movie, but once there, I didn’t want to leave. I thought the questions they posed to Legrand about how he compares with Bach and Beethoven, and whether those classical composers would have made film scores was pointed, but a very good question. The constant that runs through Demy’s films is the push-and-pull between happiness and absolute despair. Quandt also did the excellent commentary for Bresson’s Pickpocket, so he knows what he’s talking about. This precisely wrought, emotionally penetrating romantic drama from Jacques Demy, set largely in the casinos of Nice, is a visually lovely but darkly realistic investigation into love and obsession. “Umbrellas of Cherbourg” may look and feel and sound like a movie, but it hurts like real life, reminding us of something truly awful: We all, in some way, get over it.
While I said above that the film said very little, they brought out a few themes that I had missed, like the theme of liberation that embodied hippie generation of the time. The Umbrellas of Cherbourg is an exception to this Blind Spot because it is revolutionary, and breaks from the formulas that I dislike. It’s among his most profoundly felt films, a tale of crisscrossing lives in Nantes (Demy’s hometown) that floats on waves of longing and desire. Une chambre en ville, Tags: Catherine Deneuve, criterion collection, film, French New Wave, Jacques Demy. There is also an American sailor, a mother and daughter, and the off-screen presence of Michel, Lola’s first love, who she is still dedicated to after all these years. This disc sets the stage for what will be a stacked set of special releases. An ax murderer. Many of them were the way that Demy portrayed it on screen. The mother takes to Roland, and the teenage daughter finds herself charmed by the sailor, but not in a romantic way.
The dual-format box set contains six dual-layer Blu-ray discs and seven dual-layer DVDs.
The king also obliges, and she uses this skin as a disguise to escape.
Together, they would have made for a more passionate pairing, but they would have faced struggles in life that might have hurt them in the long run.
There is a short interview with Demy and Legrand for French TV. Demy juggles these complicated character motivations with delicacy and explores the nature of human relationships. I try to keep an open mind, and with this stacked new box set release, I can dive into his career from the beginning. This was a good one to start with.
That depends on your perspective. The Umbrellas of Cherbourg Like “Cherbourg,” this one’s all sung too (with music by Michel Colombier this time), but the material is darker, and the politics that loomed in the background of “Cherbourg” take higher precedence. Since it was his debut feature film and it set the stage for so much of his later work, it had to be included regardless of the quality. Or rather he was and he wasn’t. Twins Delphine and Solange, a dance instructor and a music teacher (played by real-life sisters Catherine Deneuve and Françoise Dorléac), long for big-city life; when a fair comes through their quiet port town, so does the possibility of escape. Jacques Demy’s crystalline debut gave birth to the fictional universe in which so many of his characters would live, play, and love. I really like that his film universe had some connectivity, with reoccurring characters, motifs, and references to other films in the mise-en-scene. She plays an umbrella-shop owner’s delicate daughter, glowing with first love for a handsome garage mechanic, played by Nino Castelnuovo. This is where, when I was sixteen, I saw my first movie being shot, in the city streets. The Criterion Collection puts together a lovely box set featuring six films from director Jacques Demy entitled The Essential Jacques Demy. Alas, that is not Demy’s style. I really like that his film universe had some connectivity, with reoccurring characters, motifs, and references to other films in the mise-en-scene. The Umbrellas of Cherbourg
Even to the end I wondered what he was saying here. The use of color and attention to detail is also Demy-esque. And there’s more dancing than singing, a sign that Demy was in a rare mostly optimistic mood. My expectations are not high, but it seems to fit into the Demy universe since it is a sequel to Lola. Basically I like musicals where a character is a musician and that says something about him (Once), or where the art of the musical is a major part of the narrative (All That Jazz), or pretty much anything directed by Ernst Lubitsch. Since they had the master, the process was not as difficult.
Broken hearts.
In fact, he probably got his shot thanks to the successful efforts of Louis Malle, Francois Truffault and Jean Luc Godard.
I’ve tried and just cannot get into them. They mean to reunite, but they don’t until the final scene, when enough time has passed that they can barely remember the passion that once consumed them. This would not be as easy to pick up if you watched the films individually over a longer span of time. French director Jacques Demy didn’t just make movies—he created an entire cinematic world. I missed a lot of the critical examinations on the earlier discs, but was pleased to view James Quandt’s A-Z evaluation. Meanwhile, Lola is having a tryst with the American sailor, while still longing and waiting for her first love and the father of her child, who she is convinced will come back someday. As I progressed further into the set, I found myself appreciating Lola and Bay of Angels a little more, and will enjoy revisiting them at a later date.
Later, I saw Demy in Nantes introducing his film to an audience, and also presenting Singin’ in the Rain at a ciné-club. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. As some would expect, the voices were not the actor’s, but they did sing as they acted in order to get the affectations correctly (and apparently they all sang awfully).
With its jazzy Michel Legrand score, pastel paradise of costumes, and divine supporting cast (George Chakiris, Grover Dale, Danielle Darrieux, Michel Piccoli, and Gene Kelly), The Young Girls of Rochefort is a tribute to Hollywood optimism from sixties French cinema’s preeminent dreamer.
The most impressive short in my opinion was Le sabotier du Val de Loire, where a pastoral family makes clogs. While Une chambre en ville didn’t measure up to it’s stylistic sister, it was surprisingly effective, and it was refreshing to see Demy push beyond the boundaries he set for himself.
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