The Umbrellas of Cherbourg


Drama / Romance

IMDb Rating 7.8 10 21


Downloaded times
May 11, 2020



Catherine Deneuve as Fabienne Dangeville
720p.BLU 1080p.BLU
847.07 MB
French 2.0
23.976 fps
91 min
P/S N/A / N/A
1.7 GB
French 2.0
23.976 fps
91 min
P/S N/A / N/A

Movie Reviews

Reviewed by thedavidovitch 10 / 10 / 10

It makes my heart ache just to think about it...

Some things are so wonderful you can't quite believe they exist. A technicolour heaven with a young Catherine Deneuve at her most beguiling and beautiful in a film that's entirely sung in the most exquisite way? Pinch me, I still can't get over the fact this film exists. Everyone has a film they return to when they're feeling jaded, sick of Hollywood or simply because it's raining outside. I have two films I turn to at these times. One is Singin' in the Rain; the other is this little gem. Both transport me to a world of colour, joy and heartache, yet both stay just the right side of sentimental too. Of course the plot is a little convoluted; of course the entirely sung script makes it a little jarring at first - but just sit back and let Les Parapluies do its magic. You won't regret it. I promise ;-)

Reviewed by bbrow07 10 / 10 / 10

Toto, I've a feeling we're not in Kansas anymore.

A glorious film just a few things to add to what everyone else has said [NB SPOILERS towards the bottom of the page - not that the plot is exactly a suspense] It's a "realistic" story on the face of it. The whole thing is reminiscent of the "verismo" Italian operas from the end of the 19th century, like Cavalleria Rusticana, where soap-opera plots about ordinary people are set to emotionally stunning over-the-top drama-queen music - inherently a democratic kind of style, saying that shopworkers and little old ladies have as much right to passion and glory as kings or gangsters or movie stars. Yes, the singing is silly. But the film knows this - in the very first scene the men in the washroom joke about "Carmen" (another example of the same style) and one of them sings something like "I'm going to see a film, I don't like Opera, I can't stand all the singing". Its a film that *knows* mechanics don't (usually) sing arias while they check the oil, and makes a joke about it. Buffy fans will have got the same point from "Once more with feeling" - the Fundamental Problem of the Musical is: "why is everybody singing?" But there is something unrealistic about it, the beauty. Everyone and everything is good-looking. The people are beautiful. The dirty old town is beautiful. Cheap bars are beautiful. Squalid damp flats are beautiful. Abandoned hulk ships are beautiful. A garage forecourt with petrol pumps and a canopy is beautiful. All the men are good-looking. And as for the women - someone asked why more men than women like this weepy film. The obvious answer is Catherine Deneuve. But Anne Vernon playing her mother is cuter than anyone her age has a right to be. And as for Ellen Farner... Guy has not one but two stupendously attractive women after him, which is about 1.99 more than the average member of the audience. The costumes match the background far too often for it to be anything but deliberate. At first its even more confusing than the singing. Madame Emery dresses differently to match the wallpaper of the shop and her flat, sometimes her clothes even seem to change colour for no reason other than to match the scenery. Genevieve stands in front of a window while a truck that's exactly the same shade as her cardigan pulls up behind her. When she tries on her maternity dress it has the same combination of royal blue background and pink flowers as the wallpaper behind her. When she walks past the docks with Roland they are both wearing different shades of off-white - hers matches the rusting paint on the old ships, his matches the cliffs visible in the distance. When Guy and Madeleine sit next to each other outside the cafe her orange-brown clothes and even her lipstick match the door behind her while his dark brown jacket matches not only the wood behind him but also her hair - exactly the same trick we've seen when he was sitting next to the prostitute Jenny with her red dress on front of the red screen inside the other bar. We are in fantasy land here, even if it looks a little like Cherbourg. but this is all the same as the singing. To ask "how does a poor family afford such clothes?" or "why is the delivery van exactly that shade of yellow?" is to miss the point as much as to ask "why does a shopkeeper sing to his customers?" or "why does it always rain when we say goodbye?". In this movie, in this fantasy land, the world is turned upside down, the meek can inherit the earth (or at least look as if they might), small-town Cherbourg is as romantic as Paris, sailors and truck-drivers sing while they work, the poor wear clothes that money can't buy, the scenery changes colour to match your wardrobe, every man looks like a leading man, and every shop-girl truly is as beautiful as any duchess. This is "Singing in the Rain" set in the backroom of a shop instead of the back lot of a Hollywood studio, this is "West Side Story" without the violence, this is a small-town "Moulin Rouge", this is "Brief Encounter" on acid. It's not a tragic ending, any more than the endings of Casablanca or Brief Encounter are tragic. It's the right ending. We're not so much sad for Genevieve - even though we are crying - as we are happy for Roland (who deserves a break. Even though we know he's probably a crook) If we are crying its because Guy needs to hug Francoise. We expect that the marriages will work out in the end - maybe they have worked out already. If these people are not going to be happy its not because they married the wrong partners. and what other film has had hundreds of thousands of viewers in floods of tears watching an aerial shot of an Esso service station?

Reviewed by DeeNine-2 10 / 10 / 10

"I Will Wait for You"

Maybe not. Les Parapluies de Cherbourg is one of the most beautiful movies ever made with an enchanting and haunting score by Michel Le Grande, and totally focused, sharp and creative direction by Jacques Demy. Catherine Deneuve gives a fine performance in pinkish white makeup with her blonde hair pulled away from her famous face, at twenty playing a seventeen-year-old shopkeeper's daughter who falls in love with a garage mechanic. He is called away to the war in Algeria after making her pregnant. Will she wait for him as the award-winning song proclaims? Will their love endure the long separation? All the dialogue is sung. The script is terse with nothing extraneous to the bittersweet story. Because the dialogue is stripped to the barest essentials, the singing seems natural and enhances the dream-like quality established early with the rain falling on the umbrellas and the cobblestone streets of the seacoast town. The sets are splashed in vivid color. Everything is superficially romantic, but the events are the starkest realism. When a young girl if forced to choose between love and security, which does she choose? It depends on the circumstances, and sometimes circumstances and the passage of time can change her heart. I was a teenager in France when this was made in the sixties. The backdrops of the white Esso gas station, the red and yellow passenger train cars, the bouffant hair styles on the girls, their eyes heavily made up with mascara and black eyeliner, the ubiquitous bicycles and the little French "cigarette roller" cars all brought back vivid memories of youth as did the musical score. A question: what ever happened to the "other" girl, Ellen Farner who played Madeleine? To be honest I found her more attractive than Deneuve who of course went on to become a great star and an acclaimed international beauty. Farner was never heard from again. Some scenes made more effective by their simplicity: When Genevière (Deneuve) returns home after a late evening with Guy, her mother (Anne Vernon) surveys her daughter and exclaims, "What have you done?" Genevière retorts sharply, "Mama!" and it is clear what she has done. Also, as Guy is going off to the army Madeleine arrives upon the scene as he is saying good-bye to his stepmother who is ill. They exchange glances that reveal Madeleine's love for him. And then she sings out softly in the heartfelt regret of parting, "Adieu, Guy." We know these are not the last words that will pass between them. Additionally, the brief, beautifully structured, final scene at the shiny new Esso gas station is not to be forgotten. The scenes with Roland Cassard (Marc Michel), the suave, traveling man of means who sells Madame Emery's jewelry so she can pay the taxes on her umbrella shop, are nicely staged so that we can see at a glance that he is enormously taken with Genevière and that the mother will do everything possible to further his case. It is agreeable for those identifying with Genevière that Roland is not only well off financially, but is as handsome as the garage mechanic. But will he still want her when he learns that she is pregnant with another man's child? Jacques Demy who also wrote the script is to be commended for the effortless pace and tight focus of this romantic tale of star crossed lovers. I wish every director had such an ability to cut the extraneous and concentrate on the essentials without intrusion. The tale is an atmospheric tour de force of love lost and gained, of bourgeois values triumphant. This might be a bit precious for some, but upon seeing this for the third time, I can tell you I was enchanted anew. (Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

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