Um Quarto na Cidade

"Une Chambre de Ville" is a tragic opera set during the strike of a shipyard workers union in 1955. Against the backdrop of clashes between police and strikers, the story is about two star-crossed lovers.

Francois is one of the striking workers and Edith is the dissatisfied wife of a television salesman. Fate brings them together and the result feels Shakespearian. They sing of never-ending love, but this is a story about unhappiness--for them and the other main characters.

Though the lyrics/dialogue are rather unpoetic in a classical sense, the music is powerful and lyrical. Indeed, the musical score is one of the best parts of the film.

Noticeable attention has been paid the scenery, with an emphasis on bright colors, providing striking images.

The actors have adequate singing voices, but the central theme--the great love of Francois (Richard Berry) and Edith (Dominique Sanda)-- is unconvincing. Their love feels rather conventional, certainly not a love for the ages. The viewer wants to feel that each is an island oasis of love for the other, driving them to heights of passion and personal transformation. But instead they feel like two losers who converge for a desperate evening and remain unchanged. The musical score, which is so strong, promises a classic story of love, like "Phantom of the Opera", but the characters fall far short.

The film's ending is abrupt, and it serves to undermine the theme of everlasting love.

I always love Demy, except the one discussing the pregnancy of a male-so called a comedy.. Bias, of course. He always give you classical fairy tales which takes you away from your real world. Then you are carried into another space, and you can fully focus on what you are watching. Please don't pause his movies or you'll definitely find them dull and boring! For me, his music strengthens the story. Females are all beautiful princesses or queens. immersed in love, in a way.. Catherine Denver is, of course, his perfect princess. In fact, no one is bad. Many hate his Donkey Skin but that's it's close to Plato's idea/ideal. Most important of all, his protest of war is so subtle that it goes deep down without any noticing...

Workers during a strike prepare and perform a demonstration, and two personal relations develop against this background. François (Richard Berry) abandons his pregnant girlfriend Violette (Fabienne Guyon, appropriately dressed in violet), and meets a very beautiful upper class girl, Edith (Dominique Sanda).

This was my first experience with Jacques Demy, and I was immediately smitten. The backdrop recalls something like "Les Miserables", based on Demy's own witnessing of a shipyard strike, though the focus here is much more on the love triangle, and Francois Guilbard is not the tragic character that Jean Valjean is (in fact, Francois is kind of a rat).

Musicals are not my favorite genre, but I think this was done right... every line sounds amazing, and it works to have it done without any speaking. The dark themes even hark back to classic operas more than the saccharine musicals of modern Hollywood. Where the plot may be less than perfect, it is made up for by the mere presence of such striking and talented actors.

Unfortunately for Demy, many consider his best years 1961-1967, with the exception of "Donkey Skin" (1970) and completely disregard this film. Despite being nominated for nine Cesars (basically the French Oscars), it won none of them.

Could be a sequence, although dealing with a different story, to Jacques Demy's Les Parapluies de Cherbourg. All the dialogues are sung by the excellent vocal team gathered once more by the director (see also Les Demoiselles de Rochefort, Peau d'Ane). Musical style this time completely different, by competent Michel Colombier, provides fluent and dramatic tension all over. Who is going to make such well-finished films from now on?

I don't know what it was I expected from this film based on the premise, but by golly, it's not the movie I got. And I am so, so happy about that.

At its core this is a romantic drama set against the backdrop of unrest in Nantes as workers strike and the stooges of the establishment (some euphemistically call them police) enforce state violence. The story is built on very familiar ideas that we've seen in countless other romantic dramas before, and have since, and will again: a troubled landlady, a loveless and even abusive marriage, a relationship on the rocks, external factors adding to hardship, a beleaguered protagonist. That Jacques Demy penned this with a mind for including all this and more inherently places upper limits on suspension of disbelief and fosters the feeling of melodrama. Take into account the fact that one character is wearing nothing but a large overcoat for most of the length (at least twenty-four hours in-universe), the fact that the central romance is the result of a chance encounter and takes the course that it does, and final story beats in the last several minutes that I simply could not believe were actually what Demy consciously selected, and "melodrama" becomes an understatement. The best point of comparison is actually the soap opera, the peak of unending dramatic turns and over the top storytelling (unless you hop over to the next mountain range where Lifetime Original Movies and Horror or Sci-Fi B-Movies claim dominion). And not only is 'Une chambre en ville' a soap opera, but it's one in which every single line of dialogue is sung! It's not even that this adopts the recognizable structure of the average musical or opera, in which dialogue (whether spoken or sung) is interspersed among distinct songs or numbers; rather, this is just a romantic drama in which all lines are sung.

I don't think it's unfair to wonder if this really was exactly what Demy had intended from the get-go, but when you stop to think about it I can't imagine it was anything but. Such as it is the narrative is relatively unsophisticated and straightforward, and this and musical bent definitely amplify the sense of inauthenticity about the whole affair. At the same time, this was built from the ground up with absolute sincerity. The cast give genuinely admirable performances, with Dominique Sanda, Danielle Darrieux, Richard Berry, Jean-Francois Stévenin, and Fabienne Guyon (among others) standing out above even a notable figure like Michel Piccoli. The sets, filming locations, costume design, hair, makeup, stunts, and effects are truly outstanding, as fine as one could hope from most any picture. Though it sticks to the background behind the actors' singing, Michel Colombier's music is easy on the ears; Demy's direction and Jean Penzer's cinematography are rock solid, building shots and scenes with an undeniable expertise. Even for the slant that it ultimately follows, and the inclusion of plot points so tried and true they're basically tropes, Demy's writing - like all else here - could have just as easily been the foundation for an honest, serious drama. And yet all this was instead warped into a cheeky form that practically winks at the audience. There's no reason this should work as well as it does; indeed, I found myself filled with doubts at various points, given the overload of melodrama on hand. Yet as the finale irrevocably affirms how wholeheartedly Demy leaned into the bluster, I'd be plainly lying if I said I wasn't charmed.

'Une chambre en ville' is actually completely outrageous, a concept taken to a ham-fisted extreme that by all reason couldn't and shouldn't hold water. Nevertheless, it's wonderfully well made in every capacity, with the cast and crew having made excellent contributions. And while the overall tack is surely one that inspires love or hate with no middle ground, I for one am totally delighted by the end result. It's definitely a bit of a weird hodgepodge, but even for those who can't abide what Demy is doing here, I don't think there's much arguing that it's entertaining, whether in the best or worst of ways. I find myself conflicted; I don't know if it would be better for potential viewers to be well aware of what they're getting into with this, so as to prepare themselves, or if folks are better off being caught unaware as I was. All I know for sure is that I had a great time watching, and I would happily recommend 'Une chambre en ville' to just about anyone. It's a strange ride in some measure, but one that's very much worth taking.