Tag Archives: Catherine Deneuve

1964 Films, Catherine Deneuve, French, International, International Musical, International Romance, Jacques Demy, Musical

The Umbrellas of Cherbourg-1964

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The Umbrellas of Cherbourg-1964

Director Jacques Demy

Starring Catherine Deneuve, Nino Castelnuovo

Scott’s Review #911

Reviewed June 17, 2019

Grade: A

The Umbrellas of Cherbourg (1964), translated in French to mean Les Parapluies de Cherbourg, is a darling and daring film, unique like none other, consisting of all dialogue being sung recitative, like an opera or a stage musical.

But wait there’s more.

The film has an abundance of colorful and dazzling set designs that enrich the entire experience amid the lovely French culture and atmosphere. Interspersing one of the loveliest melodies imaginable and the result is a stoic treasure.

The film received an Oscar nomination for Best Foreign Language Film and several other nominations.

The film is divided into three parts and moves along chronologically over six years. Part One is The Departure, Part Two is The Absence and Part Three is The Return, each title representing a meaningful part of the story.

Madame Emery (Anne Vernon) and her sixteen-year-old daughter Genevieve (Deneuve) own a struggling umbrella boutique in Cherbourg, France. Genevieve falls in love with Guy (Castelnuovo), a local mechanic, and they have sex the night before he is drafted to war, resulting in an unexpected pregnancy.

Madame Emery and Genevieve must decide what options are best when she is courted by wealthy jeweler Roland (Marc Michel), who is unaware of her pregnancy. Genevieve and Guy continue to write letters to each other as she softens towards Roland and a decision is made.

An injured Guy returns from the war and events kick into high gear as the love birds face an uncertain future amid surrounding barriers to their happiness.

To embrace the flavor and pacing of the film takes a few minutes of patience- like some viewers becoming accustomed to sub-titles in general, which the film also possesses, the singing is initially quite jarring but before long is to be embraced and appreciated for its unique nature.

To stress the point, the film is not a standard musical, with songs mixed in with conventional dialogue, and each line of the film is sung.

Deneuve, who with this role gained wider recognition beyond simply a French audience already familiar with her work, shines brightly in the lead role, never looking lovelier. The young lady, hardly appearing just sixteen (in truth she was twenty-one) carries the film with a chic and sophisticated style perfectly in tune with the 1960’s time-period.

Her magnificent grace and elegance make her the primary reason to tune in as she sings her lines flawlessly and with unforced precision.

The story is unequivocally a basic one of a girl meets a boy, the boy is drafted into the army, the girl becomes pregnant, the girl meets another suitor, and the boy returns home as conflict arises, but the magic is what director Jacques Demy does with the piece.

Everyday life is presented in situational scenes adding substance and commonalities. Genevieve and Guy are in love and face external as well as internal obstacles. At the same time Madeleine (Ellen Farner), a quiet young woman who looks after Guy’s aunt, is secretly in love with Guy, as she adds a secret weapon to the film.

The audience cares for the characters, especially Genevieve and Guy, but the supporting characters add a robust quality worthy of mention.

Anne Vernon is pivotal as Madame Emery, stylish and lavish, she is concerned for her daughter’s well-being, while slyly seeing opportunities to save her boutique. Guy’s sickly Aunt Elise provides security and love to those who heed her advice and is remarkably played by actress Mireille Perrey.

The vivid colors and sets make The Umbrellas of Cherbourg tough to forget. Stark and florescent painted pinks, greens, and blues, mainly on the walls, provide zest and flavor, a grand style all its own.

With bright and crisp designs, the result is reminiscent of a lavish Hollywood musical, but with a cultured French twist. The result is perfect, and one can easily immerse themselves in both the singing and the artistry.

The recurring main song “I Will Wait for You” (the main theme, also known as “Devant le garage”) is delicious and emotional as it appears in many poignant scenes.

Those seeking a charismatic and distinctive experience with nuances and a hint of experimentation will undoubtedly sink their teeth into this fruity and tasty treat.

With a French atmosphere for miles, the film is simply encompassing all that is good and cultured about French film.

The Umbrellas of Cherbourg (1964) will entertain and unabashedly knock your socks off, with something grandiose and sizzling with flavor.

Oscar Nominations: Best Foreign Language Film, Best Story and Screenplay Written Directly for the Screen, Best Song-“I Will Wait for You”, Best Music Score-Substantially Original, Best Scoring of Music-Adaptation or Treatment

1965 Films, British, British Horror, Catherine Deneuve, Horror, Roman Polanski

Repulsion-1965

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Repulsion-1965

Director Roman Polanski

Starring Catherine Deneuve

Scott’s Review #554

Reviewed December 21, 2016

Grade: A

Repulsion is an excellent British film, and an early film of the great director, Roman Polanski- made in 1965. The film was shot on a low budget, and the action mainly takes place inside a small London apartment.

Repulsion is part of Polanski’s “Apartment trio”, along with Rosemary’s Baby and The Tenant- all set inside apartments.

The film tells the story of Carol (Catherine Deneuve), a beautiful, young, woman who slowly goes insane throughout a weekend, while left alone by her vacationing sister.

Carol is a beauty parlor worker who seemingly is sweet and shy but gradually becomes violent, volatile, and unbalanced. She experiences hallucinations and it is alluded to that she may have been sexually abused as a child.

She loathes men.

The film is shot in black and white with eerie camera shots background noises and very little music. This film has a claustrophobic entity that makes it all the more disturbing.

All of these characteristics make the film a difficult experience to watch, but that is to its credit.

We see Carol unravel and are mystified by the aspects that make her this way. The bathtub scene and the scene with Carol’s landlord are highlights of their brutality.

Repulsion (1965) is difficult to watch, but a wonderful piece of cinema. An in-depth character study of an already unhinged woman reaching her psychological breaking point.

1967 Films, Art, Catherine Deneuve, Drama, International, International Drama, Luis Bunuel

Belle De Jour-1967

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Belle De Jour-1967

Director Luis Bunuel

Starring Catherine Deneuve, Jean Sorel

Scott’s Review #486

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Reviewed September 29, 2016

Grade: A

Belle De Jour, the title translates to “lady of the day”, a French pun for “lady of the night”, a kind phrase for prostitution, is a fantastic art film.

Stylish, sophisticated, and open to interpretation (at least in my opinion), Belle De Jour is a late 1960’s journey into eroticism, social norms, and sexual freedom.

Gorgeous star Catherine Deneuve has never looked better and calmly does mental conflict.

The film is directed by Luis Bunuel.

Severine is a wealthy young newlywed, seemingly who has it all. She is showered with love and affection, not to mention material items, by her handsome hubby, Pierre, played by dashing Jean Sorel.

She wants for nothing as her husband is a doctor of great wealth. Yet she is unhappy and refuses to have physical relations with Pierre.

She begins a secret life as a prostitute in a posh home, only working in the afternoons, to avoid being found out. She has no regrets but is apprehensive about the clients she meets.

Throughout the film, Severine has secret fantasies about being kept in bondage and enduring various other sexual humiliations. All the while, the question asked is “Is this all Severine’s fantasy or reality”?  Or perhaps merely a portion is.

The audience wonders.

Do we feel sorry for the character of Severine? Not. One could make the argument she is spoiled and selfish, but she is not evil, but rather confused. She is quite polite, and Deneuve fills her with kindness and even an angelic spirit.

One cannot despise her even though on the surface one might be tempted to. What right does this woman have to rebuff her husband in place of sleazy clients? One particularly volatile client becomes obsessed with Severine and stalks her, going so far as exacting violence against her husband.

But wait, is this Severine’s fantasy or reality? Is she imagining everything and merely obediently waiting at home for her husband to return each day or is she living this life?

Many shots of gorgeous Paris are used by Bunuel, including the famed Arc de Triomphe and many other interesting streets and sights, which is a treat for fans of culture. The use of these exteriors goes a long way to ensure that the film is clearly “French” from a visual perspective.

Certainly, in 1967, the sexual revolution was in full swing and Belle De Jour epitomized the revolution of the times. Yet, it does not feel dated or reduced to a film “of its time”.

I find it more a character study than a genre film as Severine is an interesting study.

Belle De Jour challenges the viewer with an intense yet subtle story of a woman conflicted with sexual desire and repression- a film open to much interpretation and discussion.

It does what an art film is supposed to do- makes us think and ponder.

2000 Films, Best Film of the Year, Bjork, Drama, Independent, Independent Drama, Joel Grey, Lars von Trier, Musical, Scott's Top 100 Films

Dancer in the Dark-2000

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Dancer in the Dark-2000

Director Lars von Trier

Starring Bjork, Catherine Deneuve

Top 100 Films #95

Scott’s Review #365

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Reviewed January 9, 2016

Grade: A

Dancer in the Dark is in my opinion one of the most important, inventive films of the 2000s and proudly is one of my favorites of all time.

However, the film is not pleasant to watch, and is quite painful and depressing, if the truth be told. But the relevance and sheer emotion the film elicits is more than enough reason to be exposed to it- if only, but perhaps, once.

Director, Lars von Trier, is a master at creative and disturbing, dream-like films that are either odd, non-linear, or otherwise open to interpretation in some way.

He has directed such gems as 2011’s Melancholia and 1996’s Breaking the Waves, to name but two.

With Dancer in the Dark, he uses handheld cameras which add much grit to the film so it almost feels documentary style, and a grainy, shaky look.

The addition of musical numbers mostly written and performed by the star, Bjork, is a wonderful touch.

Speaking of Bjork, words cannot express what a brilliant performance she gives in the film, and the raw emotion she expresses in her starring role is awe-inspiring.

So much was the stress of filming Dancer in the Dark, that she, to my knowledge, has never made another film.

She was shamefully overlooked in the Best Actress Oscar category- an omission that is one of the biggest fails in Oscar history.

Tensions were reportedly high on the set of Dancer in the Dark, as Bjork reportedly despised her director, never missing a chance to tell him so, disappeared from the set for days on end, and spat in his face. Co-star Deneuve, a former French mega-film star, reportedly did not get along well with Bjork.

Despite all the drama, the stars managed to pull together a masterpiece.

Bjork plays Selma, a Czech immigrant, living in Seattle with her young son. The year is 1964. Selma is poor, struggling to survive by working in a clothing factory along with her best friend Cvalda (Deneuve).

Selma and Cvalda escape their dull lives by watching classic musical films at their local cinema. To make matters worse, Selma is suffering from a degenerative eye disease causing her to gradually lose her sight. She struggles to save enough for surgery for her son, who is sure to suffer the same fate without it.

Selma frequently imagines musical numbers in her day-to-day life involving friends and co-workers. When a tragic turn of events occurs and Selma is accused of a crime, the film goes in a very dark direction.

The conclusion of the film will always require handkerchiefs as it is as powerful as it is gloomy.  The aspect I love most about Dancer in the Dark is that it smashes barriers about what film art is and throws all of the rules out the window.

Lars von Triers, famous for this created a dreamy, independent hybrid musical and drama, a dynamic, tragic, emotional experience all rolled up into one great film.

Oscar Nominations: Best Original Song-“I’ve Seen It All”

Independent Spirit Award Nominations: 1 win-Best Foreign Film (won)

1967 Films, Catherine Deneuve, Fantasy, French, Gene Kelly, International, International Fantasy, International Musical, Jacques Demy, Musical

The Young Girls of Rochefort-1967

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The Young Girls of Rochefort-1967

Director Jacques Demy

Starring Catherine Deneuve, George Chakiris

Scott’s Review #252

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Reviewed June 30, 2015

Grade: B

The Young Girls of Rochefort (Les Demoiselles de Rochefort) is a musical fantasy set in a small French town outside of Paris.

The story focuses on a set of gorgeous twin sisters, Delphine and Solange, played by real-life sisters Catherine Deneuve and Francoise Dorleac, who yearn to escape their small town for the bright lights of Paris and hope for romance in their lives.

The twins can have any man they want, but enjoy the thrill and excitement of conquests and being chased and sought after by seemingly all available French men. They spend their spare time discussing and fretting over various loves.

The film is so French and pure musical fantasy and logic are not the main focus. Much of it does not make much sense in fact, nor does it need to. It is pure fantasy.

The film excels by being dreamlike, bright, and sunny. The vivid, bursting colors and lovely sets enhance the look of the film.

In particular, the coffee shop set is a dream. All the central characters gravitate to the café for drinks, gossip, and song and dance.

A great deal of the action takes place here, which is a major plus to the film.

The Young Girls of Rochefort, which was made in 1967, is very state-of-the-art in terms of art direction and colors.

The loose plot, which is not at all the reason to watch this film, is silly. The twins, longing for love, meet several men, all possible suitors, but their true motivation is to get out of Rochefort and find real excitement in the big city of Paris.

One cannot help but realize that the men are a means to an end for the girls.

The heartfelt part of the story belongs to that of the twin’s mother, Yvonne, who also longs for love. Yvonne runs the café and still pines for a long-lost love whom she jilted because of a funny last name. She now regrets her decision and the audience’s roots for her to find happiness.

She is a wholesome character whereas Delphine and Solange are selfish and are attempting to further their careers as musical artists.

My main criticism of the film is the casting of Gene Kelly as one of the love interests of the sisters. Far too old and well past his prime at this point, the casting just doesn’t work. Yes, he is an amazing dancer, but the age is too great to be believable.

In the end, the main reason to watch The Young Girls of Rochefort (1967) is to escape, let loose, and enjoy a bright, cheery, fantasy film.

Certainly not to be analyzed, the film succeeds in providing good escapist cultured, French fare.

Oscar Nominations: Best Score of a Musical Picture- Original or Adaptation

1970 Films, Catherine Deneuve, Fantasy, International, Jacques Demy

Peau d’Ane (Donkey Skin)-1970

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Peau d’Ane (Donkey Skin)-1970

Director Jacques Demy

Starring Catherine Deneuve

Scott’s Review #227

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Reviewed March 11, 2015

Grade: B

Peau d’Ane (English-Donkey Skin) is a 1970 French musical film that is a fairy tale for adults- seemingly happy, but very dark beneath the surface.

To say this film is bizarre would be an understatement. The film is a strange retelling of the classic story of Cinderella.

The film is set in a peculiar medieval world and centers on a dying Queen, her husband The King, and the heroine of the story, the beautiful Princess.

The Queen is dying. Her last wish is for The King to marry the most beautiful woman in the land. Coincidentally, that is their daughter The Princess! Eager to produce an heir to the throne, he is determined to marry and reproduce with his daughter.

The Princess, wanting none of it, turns herself into an ugly creature, by way of wearing the skin of a donkey and moves to a neighboring kingdom to exist in a life of exclusion and revulsion, farming pigs and being berated by those around her.

A handsome Prince decides to pursue the woman who has baked him a delicious cake, but knows not who she is. Ironically enough it is the Princess.

I found the film to be quite interesting, albeit in a warped way. Unusual and tough to analyze, one must watch with an open mind.

Certainly, Donkey Skin delves headfirst into the icky world of incest and makes no apologies for its controversial nature all the while interspersing the film with cheery tunes with singing roses and hatching chicks.

The donkey skin that the Princess wears is fake and unbelievably laughable and how nobody is aware that there is a beautiful Princess underneath is silly.

And yet the film somehow works. I was transported into a magical world where nothing is normal and one surprise after another ensues.

A couple of oddities worth mentioning- some of the music from the film is a piece of contemporary, upbeat music. Also, strangely, the final scene involves a helicopter, which is completely implausible given the period.

I get the sense that this film is going for absurd and unique and succeeds on both counts.

Visually the film is gorgeous- bright and cheerful with loads of colors. The film has awe-inspiring art direction as the set pieces within the castle are odd, interesting, and colorful. I especially enjoyed the Prince’s bedroom set.

As eccentric and seemingly dark as the film is, often a character will burst into a cheerful song as evidenced by the Princess singing a happy tune while making a meal, all the while dressed in her donkey skin, almost like a scene out of Mary Poppins or My Fair Lady or any other wholesome musical.

To be sure a unique film, Donkey Skin is eccentric, lively, and interestingly perverse with a French flair. Fantasy for adults and a journey into the weird.