Les parapluies de Cherbourg

In 1964, filmmaker Jacques Demy made an audacious move by directing a deceptively simple love story completely in song. I would be hard pressed to call this movie a musical, opera or even an operetta since there are neither show-stopping production numbers nor soul-bearing arias on the soundtrack. Instead, we are presented everyday dialogue in a series of recitatives that bring a dramatic urgency to the most mundane of events. Why it works is that the story is not the happy-go-lucky romance one would suspect it will be from the bright colors of the production but rather a melancholy tale of love unfulfilled and the tenuousness of longing in the face of harsh realities. It is a Gallic version of "Romeo and Juliet" by way of William Inge's tale of teenage lust, "Splendor in the Grass" (in fact, Demy's ending bears a striking resemblance to the last scenes of Elia Kazan's film three years earlier).

The plot focuses on teen-aged star-crossed lovers Genevieve and Guy, who develop a relationship through clandestine meetings despite the disapproval of Genevieve's mother, who thinks a gas station mechanic is beneath her daughter. The lovers eventually consummate their relationship once Guy finds he has been drafted to serve for France during the Algerian conflict. With Guy away, Genevieve discovers she is pregnant and must decide whether to wait for Guy's uncertain return or marry the rich diamond dealer, Roland Cassard, her mother's preference given the failing business of her umbrella shop. The story develops in subtle strokes almost like a Yasujiro Ozu film in that there aren't really any melodramatic confrontation scenes but instead moments of revelation. The wondrous Catherine Deneuve, all of twenty, had her first important role as Genevieve, and it's no wonder her career seems assured from her ethereal performance. With his earthy good looks and open-hearted manner, Nino Castelnuovo complements Deneuve as Guy, and their romance is palpable even in an amusingly contrived shot where they are obviously on a conveyor belt moving down the street. Anne Vernon lends a robust presence as Genevieve's mother as she plots her daughter's fate, and Marc Michel is appropriately bland as Roland.

Along with the vibrant colors faithfully recaptured in a 1996 restoration, such artifices really add to the film's charm. However, just as essential is Michel Legrand's score with his swooning romanticism at its most cinematic (and a precursor to the music he composed for Barbra Streisand's 1983 "Yentl"), as it fills the dramatic arcs from start to finish. You will likely recognize the lounge standard melodies for the Americanized translations, "I Will Wait for You" and "Watch What Happens", as they are pervasive through the recitatives. I enjoyed the movie very much but realize this will not be everyone's cup of tea, especially those already alienated by the musical genre. One can see this as an even more exaggerated form, but you can probably tell by the first two minutes whether you will be enraptured by it. The DVD also includes an excerpt from Demy's widow Agnes Varda's illuminating 1995 documentary, "The World of Jacques Demy".

I have read through many - but not all -- of the comments on this movie, and I am shocked -- just shocked -- not to find any praise for Nino Castelnuovo who plays the mechanic-draftee Guy. Everyone seems to be captivated with Catherine Deneuve -- which fascination is understandable, I admit. But lack of attention to the centrality of Guy's role -- loved, betrayed, redeemed -- and blindness to the acting and handsomeness of Nino, are totally, totally unforgivable! IMHO.

Some things are so wonderful you can't quite believe they exist. A technicolour heaven with a young Catherine Deneuve at her most beguiling and beautiful in a film that's entirely sung in the most exquisite way? Pinch me, I still can't get over the fact this film exists.

Everyone has a film they return to when they're feeling jaded, sick of Hollywood or simply because it's raining outside. I have two films I turn to at these times. One is Singin' in the Rain; the other is this little gem. Both transport me to a world of colour, joy and heartache, yet both stay just the right side of sentimental too.

Of course the plot is a little convoluted; of course the entirely sung script makes it a little jarring at first - but just sit back and let Les Parapluies do its magic. You won't regret it. I promise ;-)

when I was in high school, taking french, the teacher would occasionally push a tape into a slot and show a "movie." the idea was for us kids to hear the language. well, this was one of the movies. at the time, my feelings concerning "umbrellas" were... truthfully, I didn't know what to think. as a seventeen year old I don't think I would have recommended it.

channel surfing last night I came across it again on TCM. what a difference 9000 days makes. this is a very unique film. it's not a musical, even with the sung dialog, jazzy score and saturated colors. it's stylish camera work/art direction doesn't contradict the neorealism aspect either. It enhances it.

even with the "star crossed lovers" aspect, the film isn't sentimental or corny. and the socio-economic angle is also treated tastefully.

This is an ART film in the true sense of the term. and Anne Vernon. Je t'aime.

Always I considered this film as brilliant example of real cinema. for reasons escaping from the skin of words. for a special form of beauty. for the courage of director. for performances and colors and story. and, yes, especially for music. it seems be a musical. but it is so different by one ! for a sort of...magic. who remains in your memory. who determes you to see it time by time. and for the great emotion defining it as a n experience. it is real cinema example because it is not entertainment. it is not refuge for blockbuster pieces. it is not a demonstration. it is not a show. it could be a confession. about love, life, Cherbourg, umbrellas shop and compromises. in the most delicate and precise manner. a film who remains the best answer when, for understand the life, need, for 90 minutes, escape from it. a gem, maybe. or just the real cinema.