| Jacques Demy's Colorful
Masterpieces
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Few directors are as deserving of rediscovery as Jacques Demy - and few offer
greater pleasures to the viewer lucky enough to make that discovery. A contemporary of
Godard, Truffaut, and Chabrol, Demy eschewed politics and activism for sheer cinematic
style: his best films, like THE YOUNG GIRLS OF ROCHEFORT and THE UMBRELLAS OF
CHERBOURG, are gorgeously designed musicals in the best Hollywood tradition. Yet
Demy's reputation as a mere purveyor of escapism is undeserved; underneath his
candy-colored surfaces lie one of the most authentic visions of post-WWII Paris ever
committed to celluloid. Rather than use style to escape reality, Demy employs technique to
elevate our comprehension of it - his movies are as reflective of their era as Godard's,
regardless of the difference in approach. Enjoy some of Demy's most beloved classics, as
well as the rarely screened and absolutely essential MODEL SHOP.
Friday, June 27 7:30 PM
Double Feature:
BAY OF ANGELS (LA BAIE DES ANGES), 1963, Cine Tamaris,
79 min. One of director Jacques Demy's darker and more melancholy efforts, his
second feature (following his triumphant debut with LOLA) tells the story of a vacationing
bank clerk (Claude Mann) who gets involved with compulsive gambler Jeanne Moreau.
The characters are surrounded by lush settings - the film takes place against the backdrop
of Nice casinos and beaches - yet the obsessive behavior and gray cinematography undercut
the glamour at every ironic moment. Legend has it that Jacques Demy wrote the script for
this classic in three days during a production delay on THE UMBRELLAS OF CHERBOURG! Michel
Legrands music is haunting.
MODEL SHOP, 1969, Sony Repertory, 95 min. Dir. Jacques
Demy. Gary Lockwood stars as a young American who falls in love with French
model Anouk Aimée in this, Jacques Demy's only Hollywood studio feature (it was
financed by Columbia). Aimee reprises her role as Lola from Demy's first film, but neither
she nor Lockwood is the real star of MODEL SHOP: That honor goes to the city of Los
Angeles itself, which Demy photographs with the same blend of wonder and authenticity that
characterize his French films. This is no idealized version of Hollywood - it's an L.A. of
supermarkets and parking lots - yet Demy's romantic eye gives a style and dignity to even
the most mundane people and locations.
Saturday, June 28 - 7:30 PM
Double Feature:
THE YOUNG GIRLS OF ROCHEFORT (LES
DEMOISELLES DE ROCHEFORT), 1967, Miramax, 120 min. Director Jacques Demy's love
letter to American musicals, French cityscapes and romance in general is one of his
greatest triumphs, and one of the most gloriously invigorating movies ever made. The movie
tells intersecting stories of a number of young dreamers - among them are Catherine
Deneuve, Françoise Dorléac and Danielle Darrieux - who continually
miss meeting their ideal mates by mere city blocks - city blocks that are all authentic,
as Demy matches realistic location shooting with sheer flights of musical fantasy. The
entire film is an odd but entirely satisfying hybrid of dreams and reality, a motif
perfectly expressed by Michel Legrand's score and Demy's typically precise color
palette. An added bonus: Gene Kelly in some of the most delightful moments in
musical history.
THE UMBRELLAS OF CHERBOURG (LES PARAPLUIES
DE CHERBOURG), 1964, Zeitgeist, 91 min. Dir. Jacques Demy. Auto mechanic Guy (Nino
Castelnuovo) gets his girlfriend Genevieve (Catherine Deneuve) pregnant just
before he leaves to fight in the Algerian war; they swear eternal allegiance to each
other, but circumstances force Genevieve to marry another man and move to Paris. Jacques
Demy tells this story entirely through music and lyrics, yet his musical is no fantasy -
as critic Jonathan Rosenbaum has pointed out, it's an accurate portrayal of Paris that
uses style to "exalt the ordinary." It's a one-of-a-kind film opera: a
movie that is entirely artificial and stylized yet tough, complex and unsentimental - yet
more deeply moving than a dozen more conventional melodramas. |