by Ed Howard
The Umbrellas of Cherbourg is one of the most moving and heartbreaking love stories in the cinema, an absolutely stunning musical masterpiece that sets its bright, colorful visual palette and sweet, soaring music against an increasingly bittersweet emotional range. Divided into three parts — departure, absence, and return — Jacques Demy’s sublime musical is the story of a love affair haunted by the separation of war. Geneviève (Catherine Deneuve) is a young girl madly in love with the mechanic Guy (Nino Castelnuovo), but their sweet, innocent affair is torn apart when Guy is called up into the army, sent to Algeria for two years. As in so many French films of this era, Algeria looms large, a tear in the fabric of life, an absence that’s felt at home in the missing young men, the years of longing and waiting.
The film is an interesting type of musical in which every single line is sung, but it rarely feels like there’s a proper song: instead, all of the dialogue is more-or-less naturalistic speech that’s simply sung instead of spoken. Even the most banal lines, like Guy’s interactions with customers and his boss at the gas station where he works, are liltingly timed to Michel Legrand’s alternately jazzy and romantic music. This style can be somewhat distracting and artificial at first but it quickly comes to seem as natural as if the characters were simply speaking. By setting everything to song, it never seems as if the music is interrupting the diegesis, cutting off the naturalistic flow of life with a musical number. Rather, life itself, with all its joys and tragedies, its banal incidents, its great loves and great sadnesses, has been transformed into one big musical number, a 90-minute musical number that encompasses both the innocent sweetness of young love and the much more complex, melancholy, mysterious loves and losses that build up over the course of the years. (more…)
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