Jacquot de Nantes

French film "Jacquot De Nantes" is Agnès Varda's personal cinematographic tribute to her husband late director Jacques Demy who has made some of the most marvelous musical films in the history of French cinema. No true cinéphile can claim to truly know French cinema unless he/she has seen Jacques Demy's films namely "Les Parapluies De Cherbourg", "Les Demoiselles De Rochefort", "La Baie Des Anges" etc. This film explores the role of childhood in a film director's life. Agnès Varda shows how an ordinary boy without any connection to the world of cinema from a humble milieu with a mechanic father and a hairdresser mother achieves greater heights to become a reputed film director. In many ways, the incidents from Jacques Demy's childhood are similar to those of other leading directors of French cinema who also had experienced troubled childhood experiences namely François Truffaut and Maurice Pialat. Louis Malle is the only exception to this rule as he belonged to one of the most wealthiest families in France. The film is constructed in such a manner that one finds the echo of the events experienced by Jacques Demy in his own films. This effect is carried out through scenes wherein an arrow separates childhood memory scenes from actual scenes which were all an integral part of Jacques Demy's own films. The very fact that Jacques Demy makes his appearance at regular intervals in this film helps us to place scenes from his films in their proper perspective. Jacquot De Nantes is true to life as it depicts minor as well as major incidents from Jacques Demy's life without being maudlin. For cinéphiles the sheer joy of Jacques Demy going crazy about classics of French cinema namely "Les Enfants Du Paradis" is a veritable visual treat. Lastly, had it not been for Agnès Varda and her brilliant film "Jacquot De Nantes" not many cinéphiles would have been able to learn that it was French director Christian Jacque who gave young Jacques Demy a chance to enter the world of cinema when he discovered the young boy's talent during one of his visits to Nantes-a city where Jacques Demy was born.

Absolutely nobody.

After all,they were married for 33 years ,their career began at roughly the same time,with the rise of the Nouvelle Vague ;Among the -sometimes outrageously overrated - directors of that school,Varda and Demy were among the less pretentious and their best works (mainly Demy) have stood the test of time quite well.

One cannot like Demy and not watch this documentary:it was made with love,taste and skill.Combining Demy's childhood,his hometown memories - his wildest dreams were to make shows-with the stories he transferred to the screen,Varda explores the genesis of them all,and her work is absorbing.Nantes ,"Lola" 's town ,should be remembered as Jacques Demy's hometown .Hence the title of the documentary.

Agnes Varda and Jacques Demy were two well-known French directors who both pushed boundaries and consistently put out personal, stylistic films. They also happened to be married for about 30 years.

In 1990, Demy was tragically dying from HIV/AIDS. This film appears to have been made at least in part right before his death, as it features some documentary footage/interviews with him, but the bulk of the film isn't a documentary, and presents a somewhat fictionalised depiction of Demy's life as a boy, teenager, and then a young man. It aims to explore the important periods of his life that inspired his films, and serves as a love letter from a filmmaker wife to her filmmaker husband.

In telling a coming of age story about a young boy interested with making movies, this reminded me quite a bit of both Cinema Paradiso and the recent Steven Spielberg film The Fabelmans. I don't think it's quite as good as the latter, and it's definitely nowhere near as good as the former... but in the case of Cinema Paradiso, that honestly might just be the Ennio Morricone difference - his music sort of makes that film, and adds to the emotional impact of it all.

However, when considering the backstory behind Jacquot de Nantes, it becomes a good deal more touching and bittersweet, and at least some of that backstory is made clear in the text itself. It doesn't give you everything like a full-on documentary might, but you get enough context for things to be quite moving by the end. It's certainly a personal film and I can appreciate some of its emotional weight, but I think structurally and narratively, it can be kind of repetitive and even a little tedious in places.

In my ongoing project to know Varda I figured few films would be as personally poignant as this one, a dear goodbye to her filmmaker husband Demy, then in his last days. It would be about his childhood in occupied France, before the two met, but I was keen to see what images she would furnish around this boy who would grow up to be the man she loved and was going to be parted from now forever very soon.

But of course it has to count for something, that faced with the opportunity to make one last film, Demy chose one simply on his childhood in place of a more encompassing reflection, that he leaves out all that life that a man would reflect back upon, and husband, father, struggling filmmaker. It must have been not always a happy marriage, as also different films by both suggest, but that's every marriage.

Moreover it says this about him, that as the last glimpse of himself that he leaves behind is that of a boy tinkering with moving illusions in an attic. It shows the Demy who liked nothing better than to tinker with color and artifice in his later work, fans will clearly see how the fascination started, this is definitely one for them. How it's the surrounding world, having to hide the weapons of French soldiers before German tanks rolled in, that inspires invention, staging, imagination. We see that it's his father's garage where Cherbourg takes place in after all.

But if we keep probing honestly, we will also come to the realization that if we didn't know from elsewhere that Demy was in his last days, we wouldn't really know it from the film. The facts of mortality are left out, this is a story of beginnings. So when it ends with the somewhat flippant mention that he would go on to be married, have kids, and that is that, it might also be a way of saying that some things are left unsaid. I still find that what he chooses to recall is a simple nostalgia and what he doesn't has even more value, that being consciousness of a whole life.

Varda films from a distance, this is not her story, she's here to type it all down. But she does say her own goodbye in the most heartfelt way as the camera parts from him on a shore, has to. She would make another film on Demy after he was gone, I'm setting my eyes on that.

Agnes Varda's biographical sketch of Jacques Demy's childhood and how it shaped him into a filmmaker. I use the word "sketch" because the film doesn't really go in-depth to any degree and it feels like a pretty superficial treatment. However, there's a lot of warmth and charm to it, and the anecdotes being revealed make for compelling material. If the sort of nostalgia on display isn't terribly original, at least there is some originality in the structure, tying clips from Demy's work to specific moments to his youth. The brief scenes of the real Demy (presumably not long before his death) help keeps things fresh as well. While this didn't knock my socks off, it was a very pleasant and endearing movie.