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更新时间：2024-04-11 15:40
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17岁的少女Geneviève（凯瑟琳·德纳芙 Catherine Deneuve 饰）是法国瑟堡一家雨伞店老板娘的女儿；20岁的少年Guy（尼诺·卡斯泰尔诺沃 Nino Castelnuovo 饰）是一家汽车修理店的员工，和他的伯母和伯母的养女Madeleine (Ellen Farner 饰演)生活在一起。 Geneviève和Guy是一对情侣，然而他们的恋情一直受到Geneviève母亲的阻挠。阿尔及利亚战争爆发了，Guy被迫要去前线服两年兵役。离别前一夜，两人发生了关系。分开的日子里，Geneviève很少收到Guy寄来的信，她开始怀疑他的真心。在母亲的撮合下，怀有身孕的她嫁给了一个一直对她穷追不舍的巴黎珠宝商 Roland Cassard (Marc Michel 饰演)。两年后，服完兵役的Guy回到瑟堡，想要寻回他和Geneviève的爱情，却发现一切早已物是人非......
本片被提名37届奥斯卡最佳外语片、获1964年戛纳电影节“金棕榈”奖殊荣。本片所有的对白都是“唱”出来的，配乐也十分出色。
长篇影评
1 ) 最爱的人和陪自己走完一生的不一定是同一个人
突然有感而发，想修改对此片的短评，但写了几句就发现字数远远容不下，于是还是占用一篇影评吧。当初看完还专门截了张图：Genevieve卧妈妈的怀抱里，妈妈对她说"people only die of love in movies" 做了这样的观影小结： "只有在电影中人才会因爱而死” 。雅克·德米的《瑟堡的雨伞》：华丽的色彩、美妙的歌声、惊艳的凯瑟琳·德纳芙。从头唱到尾的故事也可以如此令人感动。最爱的人和陪自己走完一生的不一定是同一个人。 看完后还专门下载了Michel Legrand配的电影原声存到手机里来听。这位屡次和德米、戈达尔合作的法国配乐大师的配乐总是特色鲜明，听他的电影配乐，有一种清新自然但又萦绕在心头挥之不去的感觉。除了这部，还以《女人就是女人》《萝拉》《法外之徒》《柳媚花娇》的配乐尤其显著。 然而每次歌单随机循环到这首，毕竟开头是对白，没耐心听主角bb，就选择了下一首。今天又随机到了，突然决定告诉自己：再听一遍吧，好久没听过了。但是这旋律听着听着就不由得回想起往事（此影评基本为本人瞎扯自己事情，不感兴趣的同学勿喷）： 小学三年级时，和女同桌关系很好，毕竟年纪小小，算是很纯真快乐的友谊，童趣多多吧。我们当时是在校内吃早餐，我特讨厌吃香菇，但她喜欢。记得有次吃菜汤吃到一半时还把香菇挑出来问她要不要吃，她点点头。 当时我们还互留了电话座机（现在还能准确出她家的7位号码;P，虽然座机时代都不知道哪一年就结束了）。记得她经常在睡觉前去打我家电话，问我“作业除了啥啥啥就没了吧”，我说“嗯”，很多很多次这样，现在想来或许并不是真的要问作业呢哈哈。当时我妈妈都经常笑话我，把电话递给我时都笑着说：“你女朋友又打电话来了！”我的天，当初我才9岁呐，我老妈这玩笑开得也真是的。不过说得我也挺脸红的，八九岁什么都不懂的我倒是很明白我很喜欢她，是对于异性的喜欢（我好像忘了说她是我们班最漂亮的女生:P）。 有次记得做一个造句题还是什么的，以“我爱”开头造句，当时是下课时间，我们就开始讨论，我对她说“我爱蓝色”，她对我说“我爱眼睛”。然后我开玩笑地对旁边一个男同学（是我们班当时最2的2B）指着她说道“我们有爱！”那同学很惊讶，然后开始张扬，我和她忙解释道：我们是各自有爱，我爱蓝色，她爱眼睛。但这为同学依然不放过。刚好班主任进教室，这2B同学竟然对着班主任喊：“老师，他说他们俩有爱！”（真是够2的）这下我再怎么解释都没救了，被班主任教育了一番，说“你这小小年纪哪里懂得什么叫爱情啊”。虽然被班上同学笑话了一番，然而我其实并不觉得有多难堪（八成是因为我第一次借机说出了对她的真心话吧:D:D:D）。 升初中了，一个经常上学放学做路伴的邻居和我分到了同一班，我们比较开心，但令我更开心的是：她也被分到了这个班！这意味着又有了更多的三年同学时光。然而初中大部分班主任的规矩都是，男生和男生坐同桌，女生和女生坐同桌，这个都懂，已经到了懵懂的年纪，早恋肯定是不允许的呀。不过我也确实没有什么想早恋的想法，我知道她肯定也是没有的，因为我了解她的性格，是很规矩很单纯的乖女孩儿。 当时家里给我买了小灵通，经常晚上睡觉前和她发短信随便聊聊。有一次我在老妈房里边看电视边和她聊，看着看着睡着了。老妈回家时发现小灵通里有她发来的未读短信，内容我还记得是：去去去睡吧。唉，怎么又被我老妈发现了，关键是其实我和她根本就没有什么，就是纯友谊。多年前她经常给我加打电话时，老妈早就在小本子上给她家号码备注过，当然一眼就在我的小灵通上认出了她的名字，老妈又借机拿我寻了次开心（老妈你真是够了:-Z）。 因为她的确很漂亮，而且性格也那么好，在这个年纪，当然是有追求者的。有时候经常看到她被一群女同学围着，我观察好久，发现她在哭，原来是因为频频收到一封封表白信。她之所以苦，就是因为这个年纪她只想在学校一心学习，不想被这种事所困扰，然而自己又是那么优秀，总是引起男生的爱慕。记得闹得最大的一次是我一个很要好的哥们儿给她写表白信，还让我去看她看了信什么反应，我！勒！个！去！不过我就知道她会拒绝的，所以很淡定地就去了，一看早扔进垃圾桶了哈哈，读都没读。立马回来给哥们儿报告（别怪我高兴啊，兄弟，的确人家不想谈恋爱的嘛:-P）。我也是异常的乖，是班上成绩最优秀的，而且很内向，从不和女生接触的那种，更是只把感情上的想法埋在心里。 初中三年时光，过得飞快，高中当然没那么巧还在一班了，自然也没了联系，一直到今天:'-(。那句“我们有爱”也成了我唯一一次在女生当面的真情表露，至今也没谈过恋爱，或许是从来没遇到过像她这么优秀的女孩让我中意吧（不对，高中是有一个，不过那是另一个故事了哈哈<3）。 前年回家时，有次和朋友去吃米线，我朋友对我说：“那女的个不是你们当时同学嘛？很漂亮的那个。”我一看是她，很激动，都多少年没联系过了，想打个招呼聊一聊，一看人家对面可是坐着一位的，而且还是以前初中的哥们儿（不是之前的那个，另一个），就淡定地回去和我朋友吃米线了。 回到电影上来，去年当时看完很是喜欢，于是逮着德米的其他电影看得不亦乐乎。然后某天又回味起此片，突然想起了她，去qq列表里找打她，竟然惊奇的发现她昵称下面写着“Les parapluies de Cherbourg这歌真好听”。她指的是这首很出名的主题曲，应该是没看过这部电影的，我想她应该也不会是个电影迷。看到后我不知是该高兴还是该怎么。过年回家刚好初中同学聚会，说是聚会，其实只有我们几个关系最要好的几个人一起，本来也是有她的，但却据说是有事没能来，剩下我们3男2女聚了顿餐，然后我们几个人竟然徒步边走边聊了4个小时。真是初中的同学关系最密切最纯真，想必应该是那个时间段大家都很单纯，互相之间展现的都是最纯真的自我，而且学习任务不怎么重，有了更多的机会发展友谊。问及了她现在的情况，说是各种忙。 我想，如果在以后的某一天，再次遇见她，她或许已有她至爱的另一半陪伴着她，或许她已为人母。我也会像片尾凯瑟琳·德纳芙扮演的Genevieve一样简单地对她说：“你还好吧？”“我想我们该说再见了。”然后在心里祝她一辈子幸福。 “最爱的人和陪自己走完一生的不一定是同一个人。” 然后Music响起http://www.xiami.com/song/1770066944《Final》 - Michel Legrand 后记：写下这篇感想与回忆时，我是高兴而欣慰的。为现在或许幸福的她欣慰，为自己欣慰。 爱上电影比爱上一个人或许更是一件快乐的事情，与电影恋爱是可以长达一生的。
2 ) 是什么触动了我？
一部大名鼎鼎的片子，找到它时满怀期待地去看。
没想到居然是一部三幕式音乐剧，头两幕都在琢磨为什么我喜欢的阿莫多瓦、希区柯克都喜欢这一部。大概是他们都喜欢用人工布景吧。《雨伞》里遍布着精心设计过的美学场景，开头字幕是我看到的最美、最具有诗意的开头了，俯拍镜头，雨中街道上富有韵律的往来穿梭的各色雨伞，有时单，有时双，有时三三两两，有时成群结队。画面真是美不胜收。而每个场景中人物身上的服装，尤其是女孩子和妈妈的服装，色彩极为饱和，艳丽而优雅，衬在另一种鲜艳的室内装饰色调里，赏心悦目。每一句台词都是唱出来的，而且都是一种日常化的调子，弥漫着一种怀旧的优雅。
不过，剧情也太老套、简单了吧？从一开头就能猜中结尾的戏，为什么会让那么多大师倾倒呢？
第三幕，已经拥有妻子和儿子的男主人公开了一家加油站，圣诞节前夜，漫天大雪中，他早已嫁作他人妇的前女友带着他俩的女儿来加油。巧遇，没有任何夸张的表情、动作，男子只淡淡地邀请她进店里。这曾经爱得死去活来的两人陌生而尴尬地寒暄着。女人忽然对着窗外汽车里的女儿说：“她很多地方都像你。你要不要去看看她？”男人看了一眼女儿，却摇了摇头：“不用了。”
忽然，我发现竟然已是一脸的泪！
第二天，和朋友吃饭时，忽然想到这个镜头。他问：你的眼睛怎么红了？
或许，功夫就在于能将一个俗套的故事讲得深入人心吧，它的成功一半在画面布景的唯美情调，一半须与观众的人生体验相通。试想初恋时，谁不想天长地久、恨不能你我水泥相揉捏成一个？分飞他人怀抱时，有恨有怨，却也能获得幸福。只是，这幸福不是先前约定好的那个人给的。再见面时，已是淡然。极热烈地燃烧过，也极冷清地寂灭。回想两人相爱时的掏心掏肺，再见此时的天涯陌路，情何以堪？
我想，觉出它的好来，起码得谈过几场恋爱。
没想到居然是一部三幕式音乐剧，头两幕都在琢磨为什么我喜欢的阿莫多瓦、希区柯克都喜欢这一部。大概是他们都喜欢用人工布景吧。《雨伞》里遍布着精心设计过的美学场景，开头字幕是我看到的最美、最具有诗意的开头了，俯拍镜头，雨中街道上富有韵律的往来穿梭的各色雨伞，有时单，有时双，有时三三两两，有时成群结队。画面真是美不胜收。而每个场景中人物身上的服装，尤其是女孩子和妈妈的服装，色彩极为饱和，艳丽而优雅，衬在另一种鲜艳的室内装饰色调里，赏心悦目。每一句台词都是唱出来的，而且都是一种日常化的调子，弥漫着一种怀旧的优雅。
不过，剧情也太老套、简单了吧？从一开头就能猜中结尾的戏，为什么会让那么多大师倾倒呢？
第三幕，已经拥有妻子和儿子的男主人公开了一家加油站，圣诞节前夜，漫天大雪中，他早已嫁作他人妇的前女友带着他俩的女儿来加油。巧遇，没有任何夸张的表情、动作，男子只淡淡地邀请她进店里。这曾经爱得死去活来的两人陌生而尴尬地寒暄着。女人忽然对着窗外汽车里的女儿说：“她很多地方都像你。你要不要去看看她？”男人看了一眼女儿，却摇了摇头：“不用了。”
忽然，我发现竟然已是一脸的泪！
第二天，和朋友吃饭时，忽然想到这个镜头。他问：你的眼睛怎么红了？
或许，功夫就在于能将一个俗套的故事讲得深入人心吧，它的成功一半在画面布景的唯美情调，一半须与观众的人生体验相通。试想初恋时，谁不想天长地久、恨不能你我水泥相揉捏成一个？分飞他人怀抱时，有恨有怨，却也能获得幸福。只是，这幸福不是先前约定好的那个人给的。再见面时，已是淡然。极热烈地燃烧过，也极冷清地寂灭。回想两人相爱时的掏心掏肺，再见此时的天涯陌路，情何以堪？
我想，觉出它的好来，起码得谈过几场恋爱。
3 ) 生活就是如此
用音乐剧的方式来演绎电影，从头唱到尾，配合法国香颂的背景音乐，那个感觉听着超级棒。颜色鲜明不艳丽，在雨季不显得那么沉闷。女主角那个青涩呀，完全看不出是《印度支那》里的那个雍容高贵，成熟气质的德纳芙。。。故事虽然简单，电影表达的很清晰，画面很美，当最后男女主角相遇的时候，发现彼此都过着美满的生活，两人各自孩子的名字就是曾经约定的名字，这就够了，年轻相爱过，没有对于错，回忆是满满的。
4 ) 为什么是彩色？为什么是音乐？
1964年，雅克.德米的《瑟堡的雨伞》在第17届戛纳电影节上摘得金棕榈奖，同年，安东尼奥尼的《红色沙漠》摘得第25届威尼斯电影节金狮奖。这两部电影都是彩色片。
不同的是，《瑟堡的雨伞》当中的对白，都是唱出来的。
为什么唱段和色彩会同时出现在《瑟堡的雨伞》？这就牵扯到电影视与听的对位。唱而不说，本已夸张；唯有使用同样夸张的色彩，才能使视觉与听觉对位。
试想一下，如果《雨伞》的色彩是黑、白、灰、卡其……当人物开口唱起来的时候，整个场面会是多么无趣和尴尬？又或者，画面是夸张的彩色，可是人物不唱反而像平常人那样说，那夸张的色彩就会显得小题大做？极鲜艳的颜色，当然要配唱段。
无论是视觉还是听觉上的“夸张”，都是一种“假定性”，是导演与观众约定好了：在我的电影里，世界是极其鲜艳的，人们可以唱。就像武侠片的导演不用事先和观众解释：大侠们为什么会飞。
同时，对于《瑟堡的雨伞》这样一部爱情片，鲜艳的色彩和优美的唱段又是与其故事主题相符的，导演为其故事选择了合适的表现手法。
当女主与男主陷入热恋的时候，女主橙色的套装和长裙，与男主蓝色的衬衫撞色，表现出爱情的美好。而当女主得知男主要参军时，她换上相对不是那么鲜艳的卡其色风衣，男主也换上了深色的外套，他们在街道里伤离别的时候，导演甚至打上了蓝色的光线，此时的色彩又烘托出分别的痛苦。而电影里的“第三者”和大老板们，则都穿黑色的衣服，显示出他们的破坏作用。
《雨伞》里从头到尾不间断的唱段和音乐，也在不同情节需要时，采取了不同的处理。当情人窃窃私语时，男女主的唱腔亲昵发嗲；当人们吵架时，曲调则尖锐昂扬。
色彩和音乐统统都服务于剧情和主题，体现了导演对视与听之娴熟把握。
同时，《瑟堡的雨伞》的观赏价值并不仅仅停留在色彩与音乐，导演如行云流水般的场面调度使得空间得以非常好的呈现，同时也帮助观众很好地投入剧情，这是推动情绪的基础。比如当女儿和母亲在雨伞店里第一次为了男朋友而争执时，女儿和母亲轮流成为画面的前景，谁在前景，谁的语言就恰好对位于背景的人形成一种统摄力，这种精准的电影语言，正是导演功力之体现。
其实有两个很好的例子可以帮助我们理解鲜艳色彩的运用。
假如《变形金刚》里的大黄蜂不是黄色而是黑色，体积巨大的擎天柱不是红蓝相间而是灰色，那么观众对汽车人的亲切感将会大大减少，使得电影的“假定性”减弱。
又如《葫芦娃》里的七个葫芦兄弟如果不是七色而是统一的青色，那么谁会对他们这几个蹦来挑去的“小魔王”产生好感呢？
无论是变形金刚还是葫芦娃，都是现实中不存在的东西，想让观众喜欢他们，就把他们弄漂亮点吧。
5 ) 早知相思无凭据，不如嫁于富贵
写剧本的人，也就是导演Jacques Demy相当老道，故事具有普世性：家道破落美人爱上帅气的穷小子，怀孕，她对生活本没有太大的期冀，也看到了和穷小子的未来，不过她不贪求。不想战争来了，征兵，两断。美人对于家庭，母亲的责任感，终于带着身孕，嫁给富贵。这完全是钟晓阳同学喜欢的一句诗－－早知相思无凭据，不如嫁于富贵。
德纳芙不是最美，但气质好。电影中她带纸皇冠一场真美。
电影的音乐主旋律不能说完全脱俗，但让人听得津津有味。和这个故事一样。能在一个俗套上做到好看，编导必有点想法的。
舞台剧的制式，也分三，四幕。所以在电影这个框子里，你可以写诗，写剧本，写意识流，都可以的。布景的色彩，50年代的法国家居壁纸。
女儿说，你每次提到Cassard（也就是那个富贵），就像在推销你的雨伞。妈妈对女儿说，你肚子这么大,向前挺出，不是儿子就是双胞，我们家的女人怀孕时都是健康顺利。这倒是世间母女的平常对话。
德纳芙不是最美，但气质好。电影中她带纸皇冠一场真美。
电影的音乐主旋律不能说完全脱俗，但让人听得津津有味。和这个故事一样。能在一个俗套上做到好看，编导必有点想法的。
舞台剧的制式，也分三，四幕。所以在电影这个框子里，你可以写诗，写剧本，写意识流，都可以的。布景的色彩，50年代的法国家居壁纸。
女儿说，你每次提到Cassard（也就是那个富贵），就像在推销你的雨伞。妈妈对女儿说，你肚子这么大,向前挺出，不是儿子就是双胞，我们家的女人怀孕时都是健康顺利。这倒是世间母女的平常对话。
6 ) 瑟堡的雨伞是怎样在法国新浪潮(French New Wave)的大环境下并置(juxtapose)自反性(self-reflexivity)与现实主义(realism)的
2017.12.14 clit2007 term paper
刚交 做了一万年的research 熬了三天 睡了7小时
18年2月更新 这门课拿了A- 所以这篇essay好像写的还不错
How The Umbrellas of Cherbourg Juxtaposes Self-Reflexivity with Realism in the Context of the French New Wave
As a member of the “Left Bank” group, Jacques Demy might not make films that were as avant-garde as those of the Cahiers du cinema filmmakers. When the musical romance, The Umbrellas of Cherbourg came out in 1964, it was considered to hardly have any radical representation of the French New Wave due to its style and aesthetic approach. Yet its unorthodox entirely sung dialogues as well as the beautifully composed music undoubtedly drew a great amount of attention. Consisting of three parts, the film depicts a young couple hopelessly in love with each other, Geneviève and Guy, who are eventually broken apart by fate (mostly the Algerian War) to separate destinies. This essay argues that director Jacques Demy juxtaposes self-reflexive features with hints of realism in The Umbrellas of Cherbourg, endowing the film with an enchanting property that embraces the junction of the conventional French cinema and the emergence of the French New Wave. The idea of this essay was constructed on the premise of Robert Stam’s viewpoint on the interpenetrating coexistence of self-reflexivity and realism within the same cinematic text which challenges the Brechtian critique of realism (152).
With regard to identifying and characterizing a genre film, Rick Altman proposes the semantic/syntactic dual theory that categorizes genres along the historic development. He also justifies the three subgenres of the musical, namely the fairy tale musical, the show musical and the folk musical, and associates them with corresponding cultural backgrounds and other musical attributes. In accordance with Altman’s theory, The Umbrellas of Cherbourg nevertheless cannot be defined as a musical semantically, in a sense that there is no shift of ambience in between dialogues and singing and instead every line is presented in a recitative manner which is dubbed by pre-recorded soundtracks by professional singers. The film does not necessarily comply with any of the three subgenres to foreground a specific value which marriage in that particular socio-cultural context establishes. Yet it does pay homage to the classical Hollywood that contemporary New Wavers enamored by embracing the popular musical genre of the Golden Age of Hollywood while incorporating a French take on the story that comments on socio-political issues. A similar gesture of playing tribute to the historic development of the genre by incorporating the innovative can be found in the studio musical Moulin Rouge! (2001), which pointed out by Parfitt-Brown merges technology of the new era with nostalgia of the fin-de-siècle bohemianism to invoke an “artistic reinvention” (24). With the narrative setting evoking Hollywood classics like The Band Wagon (1953) and Singin’ in the Rain (1952), Moulin Rouge!’s show-within-a-film form is reminiscent of Altman’s show musical subgenre in a traditional sense. Feuer identifies that the parallelism between the show that characters in the film try to bring on and the relative reality within the film’s narrative space tends to emphasize the theme of eternal love over the “glorification of show business”, countering to the subject matter dealt with in most show-within-a-film Hollywood classics (61). But this parallelism ultimately addresses to the musical film’s self-reflexive nature, and draws attention to the prosthetic, highly unreal imagery constructed in the film’s fictional world.
If we consider the parallelism in Moulin Rouge! as an approach of reflexivity, then the recurrent postmodern pastiche and dense pop culture quotations further add a layer to the film’s fictional complexion. Acknowledging the director of Moulin Rouge!, Baz Luhrmann’s point of view, Parfitt-Brown notes that the intensive blending of historic artifacts and real-world contemporary cultures that exist outside the fictional entity fulfills the “sensory authenticity” that demands participatory spectatorship (22). In other words, the edgy, transhistorical fusion of cultural artifacts constantly and consciously reminds the spectators of the fictional nature of the film, with the film self-aware of its form. Whereas in The Umbrellas of Cherbourg, this self-consciousness of cinema is achieved through the use of multiple devices.
The most obvious device being the structure of the plot, constitutes of three parts, titled “The Departure”, “The Absence”, and “The Return” respectively. Between the plots of each two parts, there is a time gap indicated by a significant change in characters and the relations among characters over the passage of time. The discontinuity allows certain plots to be omitted from the linear progression, which is quite similar to the structure of a staged musical or play. This manner contributes to the musical’s self-conscious form, just as rising up and putting down the stage curtains do at the opening and the finale of Moulin Rouge!. Furthermore, recurrently breaking the fourth wall by having its actors directly address to the camera in The Umbrellas of Cherbourg is another discernible self-reflexive device that is also applied multiple times in Moulin Rouge!.
As pointed out by Hill, the subtle quasi-Brechtian mise-en-scène of the film might not be able to distract the audience away from the fictional space since the audience are so accustomed to the conventions of musical settings that they cannot be easily bothered by them, but the frequent appearance of mirrors and frames does elicit a taste of reflexivity (44). In the scene where Geneviève reveals her and Guy’s relationship to mother, the two have an argument over the couple’s decision of getting married. There comes along a medium shot of Geneviève alongside the camera positioning at a 45-degree angle to the right of the actress who is at first placed on the left half of the screen. The right half is a mirror on the wall which seemingly unintentionally reflects the image of the mother who is supposedly standing on the other side of the room, telling how astonished she is by their proposed marriage. This framing lasts briefly until the mother’s image walks out of the mirror, with the camera tracking along Geneviève’s forward motion. There we see a perfect two shot of the characters, with a medium close up of Geneviève remaining in the left portion at the same angle as earlier. As the mother walks toward the mirror, the staging of the two is reversed. The camera is still able to capture the mother’s facial expression from the reflection in the mirror although we are facing her back. There are many shots with mise-en-scène like this in the rest of the film where it tends to play with the audience’s visual experience by careful staging of the actors in a way that their faces can be captured simultaneously despite moving around. The smooth, flawless staging reinforces the fictional entity while without necessarily stripping away the fictional, the mirrored and framed images introduce a slight sense of reflexivity such that it calls attention to its process of making the fictional.
Apart from the mirrors and the purposeful framing, there are also several shots in which the camera movement is staged elegantly yet self-consciously that one can hardly fail to observe. One of these noticeable moments is when the competent suitor, Roland, recalls his past relationship with a girl named Lola. As he starts to sink into his memory leaning against the mirror on the wall (which again draws attention to its self-reflexive manner), the camera gracefully dollies towards him until it reaches a close-up scale of his face and subsequently cuts to a flashback POV shot. This camera movement seems abrupt and self- conscious considering the previous image that frames two characters having a casual conversation. It sufficiently places emphasis on Roland’s emotional transition at the moment and his innermost bitterness of being unable to win the person he used to love. Alexandre Astruc states in his 1948 manifesto which greatly influenced the French New Wave that the new cinema should realize the cinematic dynamics by utilizing camera movements to express feelings and emotions, and that such approach would overcome the underlying problem of the old French cinema, which is the incapability of expressing thoughts. His viewpoint figured prominently in the development of the auteur theory in the New Wave. In this regard, Demy’s stylistic, self-conscious and expressive use of camera in The Umbrellas of Cherbourg aligns himself with the contemporary New Wave fashions.
Equivalent to the reflexive function of pastiche in Moulin Rouge!, the intertextuality in The Umbrellas of Cherbourg is achieved through quoting and making references to other art works. At the beginning of the film, Guy’s colleague at the garage directly sings quotes from the famous opera Carmen. Interestingly enough, his other colleague comments afterwards that he prefers movies to operas because he cannot stand the constant singing, which nonetheless playfully reflects the all-singing nature of this movie. Hill suggests that this playfulness is “doubly reflexive” which makes an intertextual reference to another form of art and moreover, attracts attention to the film’s embodiment of such form (47). In addition to operatic reference, Hill pinpoints the intertextuality in this film of other artistic forms, such as many visual components evocative of multiple works by Demy’ favorite painter Jan Vermeer (46), the tendency of long takes and stylistic camera movements that pays explicit homage to films by Max Ophüls (45), as well as the reappearing Lola (1961) character Roland Cassard that references to Demy’s own film (44). All these intertextual references encompass a huge sense of self-reflexivity which, argued by Ott and Walter, “deliberately draws attention to [the film’s] fictional nature by commenting on its own activities” (438).
I have discussed so far how some major cinematic elements in The Umbrellas of Cherbourg contribute to the musical’s high self-reflexivity, which endows itself with a fictional, unreal entity. Before I continue with the observation of the film’s realist features which is something that fundamentally blends a taste of French-ness in this American genre, it is necessary to acknowledge Robert Stam’s outlook on whether reflexivity and realism can coexist within the same context. Although the cinema in the 1930s tends to associate “realist” with “bourgeois” and “reflexivity” with “revolutionary” which are antithetical in political terms, Stam uses Godard’s Numéro Deux (1975) and other examples to illustrate that realism and reflexivity can in fact not only coexist but also penetrate into each other to display the fictional construction of the reality (152). For Moulin Rouge! as a twenty-first century big- budgeted, highly reflexive Hollywood musical production, realism is nowhere to be found as the film aims to use cultural artifacts to construct a distant past of prosthetic authenticity. As a stylistic product of the French cinema’s tendency of emerging to the New Wave, The Umbrellas of Cherbourg nevertheless juggles with reflexivity and realism to manifest the French adaptation to the classical Hollywood genre.
There are three main aspects in this film that attribute to its social realism. Despite the colorful visual style and the apparently artificial lighting effects that might denote a studio production, the film was as a matter of fact entirely shot on location. Several establishing shots at different points throughout the film determinedly highlight the sense of realism, such as the panorama of the dock in the opening credits, a few establishing shots of the train station and the café in the departure scene, as well as the last shot in the film which is a wide shot of the gas station in the beautiful snow. Take the last shot as an example; the jib shot lasts for 50 seconds, which can definitely be considered as a long take. It starts with Guy joyfully greeting his family. He kisses his wife and then plays with his son in the snow. The camera gradually pulls away from the characters’ interaction as it goes on without being interrupted. When the characters enter inside, we can barely observe their activities yet the shot does not fade out from there but rather remains unchanged and uninterrupted for roughly 20 seconds. This continuity in acting and camera movement reinforces the realism in a sense that the audience are watching the characters’ activities in reality.
The second aspect is the film’s attitude toward the contemporary social issues. Avoiding explicitly presenting the Algerian war image, the film comments on the negative post-war phenomenon like veteran soldiers’ alienation from the society and the failed human relations. It also addresses the generational debates of values in post-war French families, with the materialism and social hierarchy among elder generation versus the younger generation’s utopianism that love transcends everything. A similar value discourse can also be found in Moulin Rouge!.
Lastly, the majority of the cast hardly had any recognition prior to the production of the film. The fact that the audience at the time were seeing fresh faces instead of glamorous stars on the screen somewhat made them feel less detached from the fictional world. Film Reference points out that the femininity portrayed in traditional French cinéma de papa which the New Wave resists is mostly associated with sophisticated maturity. The way that Geneviève is portrayed as a simple and innocent girl next door naturally sides this film against the “Tradition of Quality”. All in all, the three attributes mentioned above are in alliance with three of the eight characteristics of New Wave cinema raised by Michel Marie in terms of the location-shooting, addressing contemporary social/cultural issues, and the new-face actors (70).
In conclusion, with the juxtaposition of the high self-reflexivity of the musical genre and a sense of realism regarding the contemporary French cinema, The Umbrellas of Cherbourg is Jacques Demy’s uttermost homage to the classical Hollywood. The coexisting reflexive nature and realism do not necessarily get in each other’s ways, but rather becomes Demy’s stylistic syntax in this French-accented art piece of an American genre. Released during the active period of the French New Wave, although the film does not entirely identify as radical New Wave representation, it adopts certain characteristics that comply with the New Wave aesthetics. Its uniqueness and avant-garde production approach makes it one of the most celebrated and influential original musicals of the twentieth century.
Works Cited
Altman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Cinema Journal, vol. 23, no. 6, Spring 1984, pp. 6-18.
Altman, Rick. “The Musical.” The Oxford History of World Cinema. Ed. Geoffrey Nowell-Smith. Oxford: OUP, 1996. 294-303.
Astruc, Alexandre. “The Birth of a New Avant-Garde: La Caméra-Stylo.” Trans. Peter Graham. The French New Wave: Critical Landmarks. Ed. Peter Graham and Ginette Vincendeau. London: Palgrave Macmillan, 2009. 31-38.
Feuer, Jane. “The International Art Musical: Defining and Periodising Post-1980s Musicals.” The Sound of Musicals. Ed. Steven Cohan. London: Palgrave Macmillan, 2010. 54-63.
Hill, Rodney. “The New Wave Meets the Tradition of Quality: Jacques Demy’s The Umbrellas of Cherbourg.” Cinema Journal, vol. 48, no. 1, Fall 2008, pp. 27-50.
“Legacy and Regeneration: 1944 to 1959.” Film Reference, http://www.filmreference.com/encyclopedia/Criticism-Ideology/France-LEGACY-AND-REGENERATION-1944-TO-1959.html
Marie, Michel. “The New Wave’s Aesthetic.” Trans. Richard Neupert. The French New Wave: An Artistic School. Paris: Blackwell Publishing, 2003. 70-71.
Ott, Brian, and Cameron Walter. “Intertextuality: Interpretive Practice and Textual Strategy.” Critical Studies in Media Communication, vol. 17, no. 4, December 2000, pp. 429-446.
Parfitt-Brown, Clare. “An Australian In Paris: Techno-Choreographic Bohemianism in Moulin Rouge!.” The Oxford Handbook of Dance and the Popular Screen. Ed. Melissa Blanco Borelli. New York, NY: OUP, 2014. 21-40.
Stam, Robert. “The Politics of Reflexivity.” Film Theory: An Introduction. Malden, MA: Blackwell, 2000. 151-153.
刚交 做了一万年的research 熬了三天 睡了7小时
18年2月更新 这门课拿了A- 所以这篇essay好像写的还不错
How The Umbrellas of Cherbourg Juxtaposes Self-Reflexivity with Realism in the Context of the French New Wave
As a member of the “Left Bank” group, Jacques Demy might not make films that were as avant-garde as those of the Cahiers du cinema filmmakers. When the musical romance, The Umbrellas of Cherbourg came out in 1964, it was considered to hardly have any radical representation of the French New Wave due to its style and aesthetic approach. Yet its unorthodox entirely sung dialogues as well as the beautifully composed music undoubtedly drew a great amount of attention. Consisting of three parts, the film depicts a young couple hopelessly in love with each other, Geneviève and Guy, who are eventually broken apart by fate (mostly the Algerian War) to separate destinies. This essay argues that director Jacques Demy juxtaposes self-reflexive features with hints of realism in The Umbrellas of Cherbourg, endowing the film with an enchanting property that embraces the junction of the conventional French cinema and the emergence of the French New Wave. The idea of this essay was constructed on the premise of Robert Stam’s viewpoint on the interpenetrating coexistence of self-reflexivity and realism within the same cinematic text which challenges the Brechtian critique of realism (152).
With regard to identifying and characterizing a genre film, Rick Altman proposes the semantic/syntactic dual theory that categorizes genres along the historic development. He also justifies the three subgenres of the musical, namely the fairy tale musical, the show musical and the folk musical, and associates them with corresponding cultural backgrounds and other musical attributes. In accordance with Altman’s theory, The Umbrellas of Cherbourg nevertheless cannot be defined as a musical semantically, in a sense that there is no shift of ambience in between dialogues and singing and instead every line is presented in a recitative manner which is dubbed by pre-recorded soundtracks by professional singers. The film does not necessarily comply with any of the three subgenres to foreground a specific value which marriage in that particular socio-cultural context establishes. Yet it does pay homage to the classical Hollywood that contemporary New Wavers enamored by embracing the popular musical genre of the Golden Age of Hollywood while incorporating a French take on the story that comments on socio-political issues. A similar gesture of playing tribute to the historic development of the genre by incorporating the innovative can be found in the studio musical Moulin Rouge! (2001), which pointed out by Parfitt-Brown merges technology of the new era with nostalgia of the fin-de-siècle bohemianism to invoke an “artistic reinvention” (24). With the narrative setting evoking Hollywood classics like The Band Wagon (1953) and Singin’ in the Rain (1952), Moulin Rouge!’s show-within-a-film form is reminiscent of Altman’s show musical subgenre in a traditional sense. Feuer identifies that the parallelism between the show that characters in the film try to bring on and the relative reality within the film’s narrative space tends to emphasize the theme of eternal love over the “glorification of show business”, countering to the subject matter dealt with in most show-within-a-film Hollywood classics (61). But this parallelism ultimately addresses to the musical film’s self-reflexive nature, and draws attention to the prosthetic, highly unreal imagery constructed in the film’s fictional world.
If we consider the parallelism in Moulin Rouge! as an approach of reflexivity, then the recurrent postmodern pastiche and dense pop culture quotations further add a layer to the film’s fictional complexion. Acknowledging the director of Moulin Rouge!, Baz Luhrmann’s point of view, Parfitt-Brown notes that the intensive blending of historic artifacts and real-world contemporary cultures that exist outside the fictional entity fulfills the “sensory authenticity” that demands participatory spectatorship (22). In other words, the edgy, transhistorical fusion of cultural artifacts constantly and consciously reminds the spectators of the fictional nature of the film, with the film self-aware of its form. Whereas in The Umbrellas of Cherbourg, this self-consciousness of cinema is achieved through the use of multiple devices.
The most obvious device being the structure of the plot, constitutes of three parts, titled “The Departure”, “The Absence”, and “The Return” respectively. Between the plots of each two parts, there is a time gap indicated by a significant change in characters and the relations among characters over the passage of time. The discontinuity allows certain plots to be omitted from the linear progression, which is quite similar to the structure of a staged musical or play. This manner contributes to the musical’s self-conscious form, just as rising up and putting down the stage curtains do at the opening and the finale of Moulin Rouge!. Furthermore, recurrently breaking the fourth wall by having its actors directly address to the camera in The Umbrellas of Cherbourg is another discernible self-reflexive device that is also applied multiple times in Moulin Rouge!.
As pointed out by Hill, the subtle quasi-Brechtian mise-en-scène of the film might not be able to distract the audience away from the fictional space since the audience are so accustomed to the conventions of musical settings that they cannot be easily bothered by them, but the frequent appearance of mirrors and frames does elicit a taste of reflexivity (44). In the scene where Geneviève reveals her and Guy’s relationship to mother, the two have an argument over the couple’s decision of getting married. There comes along a medium shot of Geneviève alongside the camera positioning at a 45-degree angle to the right of the actress who is at first placed on the left half of the screen. The right half is a mirror on the wall which seemingly unintentionally reflects the image of the mother who is supposedly standing on the other side of the room, telling how astonished she is by their proposed marriage. This framing lasts briefly until the mother’s image walks out of the mirror, with the camera tracking along Geneviève’s forward motion. There we see a perfect two shot of the characters, with a medium close up of Geneviève remaining in the left portion at the same angle as earlier. As the mother walks toward the mirror, the staging of the two is reversed. The camera is still able to capture the mother’s facial expression from the reflection in the mirror although we are facing her back. There are many shots with mise-en-scène like this in the rest of the film where it tends to play with the audience’s visual experience by careful staging of the actors in a way that their faces can be captured simultaneously despite moving around. The smooth, flawless staging reinforces the fictional entity while without necessarily stripping away the fictional, the mirrored and framed images introduce a slight sense of reflexivity such that it calls attention to its process of making the fictional.
Apart from the mirrors and the purposeful framing, there are also several shots in which the camera movement is staged elegantly yet self-consciously that one can hardly fail to observe. One of these noticeable moments is when the competent suitor, Roland, recalls his past relationship with a girl named Lola. As he starts to sink into his memory leaning against the mirror on the wall (which again draws attention to its self-reflexive manner), the camera gracefully dollies towards him until it reaches a close-up scale of his face and subsequently cuts to a flashback POV shot. This camera movement seems abrupt and self- conscious considering the previous image that frames two characters having a casual conversation. It sufficiently places emphasis on Roland’s emotional transition at the moment and his innermost bitterness of being unable to win the person he used to love. Alexandre Astruc states in his 1948 manifesto which greatly influenced the French New Wave that the new cinema should realize the cinematic dynamics by utilizing camera movements to express feelings and emotions, and that such approach would overcome the underlying problem of the old French cinema, which is the incapability of expressing thoughts. His viewpoint figured prominently in the development of the auteur theory in the New Wave. In this regard, Demy’s stylistic, self-conscious and expressive use of camera in The Umbrellas of Cherbourg aligns himself with the contemporary New Wave fashions.
Equivalent to the reflexive function of pastiche in Moulin Rouge!, the intertextuality in The Umbrellas of Cherbourg is achieved through quoting and making references to other art works. At the beginning of the film, Guy’s colleague at the garage directly sings quotes from the famous opera Carmen. Interestingly enough, his other colleague comments afterwards that he prefers movies to operas because he cannot stand the constant singing, which nonetheless playfully reflects the all-singing nature of this movie. Hill suggests that this playfulness is “doubly reflexive” which makes an intertextual reference to another form of art and moreover, attracts attention to the film’s embodiment of such form (47). In addition to operatic reference, Hill pinpoints the intertextuality in this film of other artistic forms, such as many visual components evocative of multiple works by Demy’ favorite painter Jan Vermeer (46), the tendency of long takes and stylistic camera movements that pays explicit homage to films by Max Ophüls (45), as well as the reappearing Lola (1961) character Roland Cassard that references to Demy’s own film (44). All these intertextual references encompass a huge sense of self-reflexivity which, argued by Ott and Walter, “deliberately draws attention to [the film’s] fictional nature by commenting on its own activities” (438).
I have discussed so far how some major cinematic elements in The Umbrellas of Cherbourg contribute to the musical’s high self-reflexivity, which endows itself with a fictional, unreal entity. Before I continue with the observation of the film’s realist features which is something that fundamentally blends a taste of French-ness in this American genre, it is necessary to acknowledge Robert Stam’s outlook on whether reflexivity and realism can coexist within the same context. Although the cinema in the 1930s tends to associate “realist” with “bourgeois” and “reflexivity” with “revolutionary” which are antithetical in political terms, Stam uses Godard’s Numéro Deux (1975) and other examples to illustrate that realism and reflexivity can in fact not only coexist but also penetrate into each other to display the fictional construction of the reality (152). For Moulin Rouge! as a twenty-first century big- budgeted, highly reflexive Hollywood musical production, realism is nowhere to be found as the film aims to use cultural artifacts to construct a distant past of prosthetic authenticity. As a stylistic product of the French cinema’s tendency of emerging to the New Wave, The Umbrellas of Cherbourg nevertheless juggles with reflexivity and realism to manifest the French adaptation to the classical Hollywood genre.
There are three main aspects in this film that attribute to its social realism. Despite the colorful visual style and the apparently artificial lighting effects that might denote a studio production, the film was as a matter of fact entirely shot on location. Several establishing shots at different points throughout the film determinedly highlight the sense of realism, such as the panorama of the dock in the opening credits, a few establishing shots of the train station and the café in the departure scene, as well as the last shot in the film which is a wide shot of the gas station in the beautiful snow. Take the last shot as an example; the jib shot lasts for 50 seconds, which can definitely be considered as a long take. It starts with Guy joyfully greeting his family. He kisses his wife and then plays with his son in the snow. The camera gradually pulls away from the characters’ interaction as it goes on without being interrupted. When the characters enter inside, we can barely observe their activities yet the shot does not fade out from there but rather remains unchanged and uninterrupted for roughly 20 seconds. This continuity in acting and camera movement reinforces the realism in a sense that the audience are watching the characters’ activities in reality.
The second aspect is the film’s attitude toward the contemporary social issues. Avoiding explicitly presenting the Algerian war image, the film comments on the negative post-war phenomenon like veteran soldiers’ alienation from the society and the failed human relations. It also addresses the generational debates of values in post-war French families, with the materialism and social hierarchy among elder generation versus the younger generation’s utopianism that love transcends everything. A similar value discourse can also be found in Moulin Rouge!.
Lastly, the majority of the cast hardly had any recognition prior to the production of the film. The fact that the audience at the time were seeing fresh faces instead of glamorous stars on the screen somewhat made them feel less detached from the fictional world. Film Reference points out that the femininity portrayed in traditional French cinéma de papa which the New Wave resists is mostly associated with sophisticated maturity. The way that Geneviève is portrayed as a simple and innocent girl next door naturally sides this film against the “Tradition of Quality”. All in all, the three attributes mentioned above are in alliance with three of the eight characteristics of New Wave cinema raised by Michel Marie in terms of the location-shooting, addressing contemporary social/cultural issues, and the new-face actors (70).
In conclusion, with the juxtaposition of the high self-reflexivity of the musical genre and a sense of realism regarding the contemporary French cinema, The Umbrellas of Cherbourg is Jacques Demy’s uttermost homage to the classical Hollywood. The coexisting reflexive nature and realism do not necessarily get in each other’s ways, but rather becomes Demy’s stylistic syntax in this French-accented art piece of an American genre. Released during the active period of the French New Wave, although the film does not entirely identify as radical New Wave representation, it adopts certain characteristics that comply with the New Wave aesthetics. Its uniqueness and avant-garde production approach makes it one of the most celebrated and influential original musicals of the twentieth century.
Works Cited
Altman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Cinema Journal, vol. 23, no. 6, Spring 1984, pp. 6-18.
Altman, Rick. “The Musical.” The Oxford History of World Cinema. Ed. Geoffrey Nowell-Smith. Oxford: OUP, 1996. 294-303.
Astruc, Alexandre. “The Birth of a New Avant-Garde: La Caméra-Stylo.” Trans. Peter Graham. The French New Wave: Critical Landmarks. Ed. Peter Graham and Ginette Vincendeau. London: Palgrave Macmillan, 2009. 31-38.
Feuer, Jane. “The International Art Musical: Defining and Periodising Post-1980s Musicals.” The Sound of Musicals. Ed. Steven Cohan. London: Palgrave Macmillan, 2010. 54-63.
Hill, Rodney. “The New Wave Meets the Tradition of Quality: Jacques Demy’s The Umbrellas of Cherbourg.” Cinema Journal, vol. 48, no. 1, Fall 2008, pp. 27-50.
“Legacy and Regeneration: 1944 to 1959.” Film Reference, http://www.filmreference.com/encyclopedia/Criticism-Ideology/France-LEGACY-AND-REGENERATION-1944-TO-1959.html
Marie, Michel. “The New Wave’s Aesthetic.” Trans. Richard Neupert. The French New Wave: An Artistic School. Paris: Blackwell Publishing, 2003. 70-71.
Ott, Brian, and Cameron Walter. “Intertextuality: Interpretive Practice and Textual Strategy.” Critical Studies in Media Communication, vol. 17, no. 4, December 2000, pp. 429-446.
Parfitt-Brown, Clare. “An Australian In Paris: Techno-Choreographic Bohemianism in Moulin Rouge!.” The Oxford Handbook of Dance and the Popular Screen. Ed. Melissa Blanco Borelli. New York, NY: OUP, 2014. 21-40.
Stam, Robert. “The Politics of Reflexivity.” Film Theory: An Introduction. Malden, MA: Blackwell, 2000. 151-153.
7 ) 很简单，很好
那是无意中的一个下午，我和奶奶坐在躺椅上各自沉默地看完了这个电影。
字幕浮起来的时候，奶奶摘下眼镜，慢慢地吐出一句：很简单，很好。
关于这部让人默默怅然的电影，可以有无数的分析。鲜艳的雨伞，一柄柄地撑起阴雨绵绵的青春，再收起淅淅沥沥的回忆。老套的故事，经典的结局，舞台剧般的场景，唱出来的对白。你可以对着它谈时间的惘然，谈生活的残忍，甚至谈那古老的“三一律”……
可是，谈到最后你会发现，唯一需要的评价只是那一句：很简单，很好。
字幕浮起来的时候，奶奶摘下眼镜，慢慢地吐出一句：很简单，很好。
关于这部让人默默怅然的电影，可以有无数的分析。鲜艳的雨伞，一柄柄地撑起阴雨绵绵的青春，再收起淅淅沥沥的回忆。老套的故事，经典的结局，舞台剧般的场景，唱出来的对白。你可以对着它谈时间的惘然，谈生活的残忍，甚至谈那古老的“三一律”……
可是，谈到最后你会发现，唯一需要的评价只是那一句：很简单，很好。
重看@phenomena 2K修复版。但凡未得到，但凡是过去，总是最登对。
流动的色彩很瞩目。被《爱乐之城》抄了不少去啊，连惆怅的经年重逢都那么像。我果然不能适应从头到尾每句话都在唱的歌舞片，说好的抑扬顿挫呢...
上法语课时,老师给我们放的这个她对我们说''j'aime beaucoup les chansons francaises''还是什么的,总之她很喜欢,可是我为什么听不进去,人物色调都很美,可是总觉得像是无调式哀嚎...orz
只有电影里的人才会为爱而死？才不是，电影里的人都做不到。
这片儿其实一点都不甜，根本就是篇虐文……
三观板正，全是善解人意的苦人儿。歌剧形式有些催眠，最具音乐性的是摄影，颜色也美。戏剧张力主要来自大刀阔斧的时间与对比，而不是细笔描摹，如果改成一出舞台表演，大概会感人一些。
惊天动地与天长地久在本质上就是不可协调的矛盾，那浓烈的色彩与哀伤的故事恰好就像一枚硬币的两面，咫尺之遥却永不得见；《萝拉》中马克·米歇尔的出现让这个雅克·德米影像世界更加完整。
女二比女主漂亮，男二比男主有魅力，大家都没有选错
最爱的与陪你走完一生的不一定非要是同一人儿
属于那种享誉影史专科必读可看过之后随便一个影迷都能轻松就指出缺陷并能引起广泛共识的电影。雅克德米或许想表现法国日常生活乐符流淌的韵律感，可韵律节奏这种东西需要有对位反差，需要大量正常对白去陪衬烘托，角色无论主配无论何事通片都唱也就失去韵律本身的意义，都在唱也就等同于都没唱。相较而言，所谓缺乏优美曲调记忆点的诟病反而退为次生缺陷。正确的做法该像马莫利安的公主艳史或北野武的座头市那样，将超现实生活韵律集中在某个小段重点展示！
虽然情节老套 虽然表演略显做作 虽然短短两个单词的句子拖长音唱出来时很喜感 但真的好！伤！感！(Theme song "I WILL WAIT FOR YOU"让伤感呈指数级增长) Catherine Deneuve美翻
故事现在看来太过普通了，除了结尾再见大雪茫茫中的几句意犹未尽的闲聊让人唏嘘不已。不过选角真是不错，年轻美艳逼人的Deneuve从此出道，其他也是俊男靓女啊，梳妆，服装，置景【人工布景】，更是绝佳，配色现在看来都极具美感。至于全程唱白的手法，我只能说需要慢慢习惯法国这种类型的歌曲……
有人说是《爱乐之城》是本片加强版，其实也就大致的相爱，分开，多年后重复这三个大体阶段是类似的。其感情内核是不一样的，爱乐是知音型灵魂伴侣，瑟堡是青少年天真脆弱的初恋，分开的原因也是完全不一样的。但瑟堡也不错，看点1.色彩搭配，2.对话全是吟唱，3.主题配乐。
这哭哭啼啼狗血的剧本是琼瑶阿姨写的吧，CD一直拉着张伤春悲秋的长脸完全不对她的戏路啊，这是属于阿佳妮的绝对领域啊亲，强大的冰美人气场德米根本HOLD不住哇。全片唱的都在同一个调子上，糟蹋了法语的美感，只剩下不接地气的拿腔拿调 720p BluRay x264-HDCLUB
画面美到每一帧都可以截下来作明信片，但总觉得人物之间的关系怪怪的，没有物质的感情就像一盘散沙，不用风吹，走两步就散了....
在电影中，人们才会为爱情死去
看的最新的修复版，颜色真是太漂亮了，非常悦目的一部电影，布景和人物服装都精致到令人赞叹，更别提20岁的德纳芙有多漂亮了。史诗爱情嘛，结局还挺虐。。全程每句台词都是用唱的，可是感觉比悲惨世界适应多了。。
对通片歌唱表示无感。于我而言，这样的形式不是不可以，可问题在于旋律太平挺一般，没什么记忆点，以至于本片完全没有一首像《雨中曲》或《音乐之声》那样的经典传唱歌曲。我猜想本片之所以能获得戛纳电影节金棕榈奖可能就是因为其通片歌唱的新颖形式吧？（P.S.：电影的开场段落个人倒是感觉蛮给力的！）—— 北京电影学院-咖啡厅：在等朋友的时候独自观影，没想到晚上老师讲课时，刚好地就讲到这部电影，要不要这么巧啊！？
彩色电影最精致时的模样。“别傻了，只有电影里的人会为情而死”与“为什么我还活着？”两句对照台词无疑是重要标志，它指明纵然电影的外观极端虚假，“虚假”本身却已被完全否认，德米用绝对概念化的色彩语言、绝对精准的运镜与景别，让人物及其情感通通滑入最真实。从这个角度看，《瑟堡的雨伞》让我后知后觉，或许纯正歌舞片本质上都应该是另一种形态的《狗镇》，甚至生来就有着挑衅现实主义与表现主义之分的使命。一件黑裙和一条粉纱就能表达“爱他的是她妈”，一个餐桌上的僵硬内反打、一个简单的人偶置景搭配一次横移就能让我知道她出轨的百分百只有肉体，表达“那个人好像一条狗啊”可以完全不用动嘴皮子，连床戏都能只用空镜就阐明是“绵长”或“发泄”，太完美了。私影史最佳歌舞片已易手，私影史前几要缓缓才知道。初见于大银幕，太幸福了。
7.1/10【雅克德米×1】很喜欢片头雨中伞与鹅卵石小路的搭配，点题又赏心悦目，配上配乐美到心醉。虽然是歌舞片但是只有歌没有舞，台词全程唱段化是一个很新奇的体验，但是到中段就会有些疲劳了，何况本片虽是歌舞片但除了i will wait for you这段配乐之外我并没有觉得有很出彩的唱段。本片的色彩运用实在是令人大饱眼福，每一帧都美的像一幅画。但是剧情实在是俗套，不过倒是完美诠释了那句“最爱的人并不是最合适你的人”结局的雪中重逢设计的很催泪。说毁三观是因为我一点都get不到男主，理解不了男主这种明知道自己可能一去不复返还要在前一晚得到女主身体的行为，得知女主怀孕后回信并不频繁让女主心灰意冷完了回来了还怪女主薄情可还行。女主也是爱情冲昏头脑那种傻姑娘唉我累了。