I've been meaning to dive into Demy's filmography since hearing he had a huge impact on Chazelle's La La Land, with this one being singled out as the primary influence, that's not to mention it's often cited as Demy's chef-d'oeuvre. Infused by jazz melodies as well as thumping percussion for an added flair, featuring eye-candy pastel-coloured set and costume design on full display, and cycling through seasons in a way thematically suggestive, Chazelle's musical is definitely not far removed from this one although each has its own approach to its distinct story. What grabbed my attention the most is how Demy progressively jettisons the fantastical, iridescent world in favour of an otherwise grounded one. From the opening sequence of an aerial view of raindrops pitter-pattering on cobble stones and the titular umbrellas, to the bold, bright colours, to the constant singing, Demy muster all technical tools, congregating to lend a lulling effect that sent me into a delightful stupor, and to kaleidoscopically play up the emotional union and jovial state of Geneviève and Guy who're enamored with each other.
Cherbourg is almost presented in pink, before giving to brown-ish and blue hues to emote Geneviève's feelings of forlorn and sadness respectively, and fuchsia and red to suggest warning and uncertainty, when Guy leaves to Algeria due to his conscription, leaving Geneviène facing a tough decision that threatens their relationship. Even colours brimming with joy at first, such as yellow, gradually wane and pale, giving way to some of their dull and faint derived shades. All these create melancholic undertones along the way that ground the film in reality while portending its bittersweet ending where there isn't a dry eye to be found. But The Umbrellas of Cherbourg is a film of the of vicissitudes of life and how one has to resign to fate so long as latching onto hope becomes more and more difficult, and it's more than just a matter of counting the days.
The Umbrellas of Cherbourg is also of teenage love and recklessness, and it's here in particular where it sets itself apart from the rest with its sense of verisimilitude. "People only die of love in movies," said Geneviène's mother who neither believes in love at a young age nor love at first sight. She's pragmatic and even cynical, and maybe that's her main impetus for wanting her daughter to get married to the wealthy jewellery merchant. Yet, her happiness at seeing her blear-eyed daughter a bit cheered up when handed a letter from her lover is real and indicative of a true motherly affection. Make no mistake, this is far from the flawless film I was expecting. The editing is a bit clunky, which shows most in the continuity of music. It also took me a while to adjust to the dialogue, entirely being recited and sung, but soon I started to appreciate the unconventional lyricism of it all. A visual and emotional stunner that's not to be missed by all the fools who dream and lovers of musicals in general.
Cherbourg is almost presented in pink, before giving to brown-ish and blue hues to emote Geneviève's feelings of forlorn and sadness respectively, and fuchsia and red to suggest warning and uncertainty, when Guy leaves to Algeria due to his conscription, leaving Geneviène facing a tough decision that threatens their relationship. Even colours brimming with joy at first, such as yellow, gradually wane and pale, giving way to some of their dull and faint derived shades. All these create melancholic undertones along the way that ground the film in reality while portending its bittersweet ending where there isn't a dry eye to be found. But The Umbrellas of Cherbourg is a film of the of vicissitudes of life and how one has to resign to fate so long as latching onto hope becomes more and more difficult, and it's more than just a matter of counting the days.
The Umbrellas of Cherbourg is also of teenage love and recklessness, and it's here in particular where it sets itself apart from the rest with its sense of verisimilitude. "People only die of love in movies," said Geneviène's mother who neither believes in love at a young age nor love at first sight. She's pragmatic and even cynical, and maybe that's her main impetus for wanting her daughter to get married to the wealthy jewellery merchant. Yet, her happiness at seeing her blear-eyed daughter a bit cheered up when handed a letter from her lover is real and indicative of a true motherly affection. Make no mistake, this is far from the flawless film I was expecting. The editing is a bit clunky, which shows most in the continuity of music. It also took me a while to adjust to the dialogue, entirely being recited and sung, but soon I started to appreciate the unconventional lyricism of it all. A visual and emotional stunner that's not to be missed by all the fools who dream and lovers of musicals in general.