(Jacques Demy, 1964, StudioCanal)
One of the enduring attractions of the French New Wave is what is now thought of as Jacques Demy's seaside trilogy – three bittersweet musical films on the themes of love, loss and life not turning out the way you expect it to, all with recurring characters and taking place in ports on the Atlantic coast. All three are designed by Demy's school friend Bernard Evein with music by Michel Legrand.
The first, Lola (1961), Demy's directorial debut, is a cleverly patterned fairytale set in his native Nantes and stars Anouk Aimée as a golden-hearted nightclub prostitute reunited with her former love and is stunningly shot in black and white by key nouvelle vague cameraman Raoul Coutard.
The other two, The Umbrellas of Cherbourg and Les Demoiselles de Rochefort (1967), are both in imaginatively used colour and pay homage to the Hollywood musical, most especially the films of Vincente Minnelli and Stanley Donen,...
One of the enduring attractions of the French New Wave is what is now thought of as Jacques Demy's seaside trilogy – three bittersweet musical films on the themes of love, loss and life not turning out the way you expect it to, all with recurring characters and taking place in ports on the Atlantic coast. All three are designed by Demy's school friend Bernard Evein with music by Michel Legrand.
The first, Lola (1961), Demy's directorial debut, is a cleverly patterned fairytale set in his native Nantes and stars Anouk Aimée as a golden-hearted nightclub prostitute reunited with her former love and is stunningly shot in black and white by key nouvelle vague cameraman Raoul Coutard.
The other two, The Umbrellas of Cherbourg and Les Demoiselles de Rochefort (1967), are both in imaginatively used colour and pay homage to the Hollywood musical, most especially the films of Vincente Minnelli and Stanley Donen,...
- 2/9/2014
- by Philip French
- The Guardian - Film News
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