film reviews

by Arya Dixit

The Umbrellas of Cherbourg (dir. Jacques Demy), was met with mixed reviews when the film premiered in 1964, during the French New Wave movement, but has steadily grown in both popularity and appreciation for its timeless, artistic vision. In Umbrellas, Demy infuses his cinematography with a fairy-tale-like quality. The musical numbers, bold use of colors, and choreographed movements make the visuals and storytelling dream-like. Fairy tales come with stereotypes: the audience expects happy endings, an other-worldly, pure romance, a knight in shining armor who wins over the girl he loves, and the girl who slowly grows to love him back. Similarly, in Hollywood cinema, as Backes states: “everything was larger than life. From the large scale sets, soaring visuals, and grandiose love that always ended with everything in its place”. Demy manages to break almost all of these preconceived notions of fairy-tale (and Hollywood rom-com) cinema and brings to light the inherent class structures, gender roles and expectations, and the reality of romance without losing the brilliancy and charm of a dreamy world. He carefully uses settings, colors, and dialogue to work together and illustrate the complexities of society, especially when gender norms come into play.