Skip to main content

"The Umbrellas of Cherbourg" (1964) - a lush opera

Classified as a musical romantic drama, I would call it an opera. There is NO spoken dialog. The way the characters flow and move, I wondered if the music was diegetic to the scenes. They are certainly singing (even if their sound is voice-overed after the fact) - but it looks to me like they are listening to the same soundtrack as the audience.

It stars Catherine Deneuve, Nino Castelnuovo, Anne Vernon, Marc Michel, and Ellen Farner. I almost watched it about 100 times simply for Ms. Deneuve - but now that I have seen it, I would watch it 99 more. I want to go find more projects with Anne Vernon in them. She was my favorite.


This is set in France during the Algerian War. That is the catalyst that tears these lovers apart. In spite of everything being sung-through and the score doing some of the lifting for the character’s moods or feelings, I found the acting to be compelling and naturalistic. Teen lovers act like teen lovers. The unrequited beauty acts like a jilted young adult. The windowed mother acts like a parent with a breadth of concern for herself and the well being of her daughter. Even the attractive interloper is easy to understand. The timing of their relationships is contrived, but it doesn’t feel rushed or weird. That is unusual for cinematic drama (although maybe not for mid-60’s French cinema).


In addition to all that, especially when you think of 1960's film, the sets, lighting, and cinematography is GORGEOUS. It is a work of visual art from top to bottom. A friend of mine described it as lush. I think he misspelled it: LUSH!!

Comments

Popular posts from this blog

Big Deal on Madonna Street (1958) - it is a good deal better than the remakes

I got around to watching the original 1958 comedy caper film - the one that "Welcome to Collinwood" was pantomiming. "Big Deal on Madonna Street" is hilarious. It is 25 minutes longer than the remake and never once did I feel the need to check my watch. I even paused to go refill my water glass. There will be no problem telling who is who or how the story goes - it is well shot and characters are unique. The story is a simple and fun. Comparing the "BDoMS" and "WtC" - they are identical in terms of characters and scenes. "Big Deal on Madonna Street" street is terrific, and "WtC" is a slog. The biggest difference is seen in the dialog. In "Big Deal" the people just talk, like you might expect people to talk. They are funny, but not odd. The colloquialisms happen, but they aren't hard to see through. In "WtC", they are using a vernacular to make sure you are immersed deep in an Eastern European ethnic nei...

Alien: Covenant (2017) - Jason X in a toga

A film that raises big questions—about gods, monsters, and the cost of creation—and then answers them with pseudo-intellectual hooha and a bunch of splatters. It’s poetry for meatballs. A creation myth written by someone who forgot the difference between being mysterious and confounding. There’s a premise here. But it never shows up on screen. The director described the film as having [layers of metaphor].  By minute 20, my response to him would be: “Uh nah bruh … you ain’t that deep.” The characters are emotionally unbalanced idiots. This crew is supposedly trained for deep interstellar colonization. No backup plan. No safety protocols. No sense of hierarchy or mission discipline. They panic, scream, and grieve like they’ve just lost soulmates—they are too young to have known each other or been through anything more severe than a power point presentation. They lack agency. They don’t make decisions—they react, flail, and sometimes avoid shooting themselves or blowing themselves up...

"Cocaine Shark" (2023) - Not since "Suburban Sasquatch" ...

Mark Polonia has made almost 80 films since 1985. That is 2+ per year. There was a 3 year pause in his proliferation after his twin brother & production partner John died in 2008. If you consider that he (they) didn’t really start cranking out this entertainment until 2000 - it is more like 3 per year. If he keeps at it as long as they did, he will pass Richard Thorpe and William Beaudine (credited as directing ~180 each). Wowzers. His particular craft is low-low budget. Lower than Roger Corman or Lloyd Kaufman even. Polonia’s production values are limited. You get 2 or 3 sets with plenty of establishing shots to fill the transition. You get special effects and creatures which look like they were assembled by a junior high art class. You will see the same actor playing multiple parts, married couples acting together, and a lot of the same names showing up in multiple different releases. You will see the same people + sets in 2 or 4 of these movies in a room; I assume many of them a...