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1. LES PARAPLUIES DE CHERBOURG TORRENT FRANCAIS FILM HOW TO
2. LES PARAPLUIES DE CHERBOURG TORRENT FRANCAIS FILM MOVIE

And then another title reads: "À Max Ophüls." It seemed like one more new wave film: a mock-lofty encouragement to us all in how to behave, a dedication to one of the gang's favourite directors, and then a sweeping tracking shot (worthy of Ophüls) as we see a man in a white suit and a cowboy hat in a white Cadillac driving on the front at La Baule. There is a title: "Pleure qui peut, rit qui veut" (Cry if you can, weep if you want to) this is said to be a Chinese proverb. The screen is black and white CinemaScope (a gorgeous format) the day is overcast, on the French Atlantic coast. In 1961, Demy made his first feature film, Lola. The "once upon a time" is suggested as soon as the film starts. But the music lives and the films are like fire. In 1964, Demy may have had an inkling that his obituaries would report the death of that dreamer who directed a whole film in song once upon a time.

LES PARAPLUIES DE CHERBOURG TORRENT FRANCAIS FILM MOVIE

The film was called Les Parapluies de Cherbourg - The Umbrellas of Cherbourg - and there was always a danger that audiences would say it was rather fanciful or silly, a dead end in the history of movie narratives. I am talking about the decision of French film-maker Jacques Demy to set a small love story to music - and not just to music, but with every word or sigh to be sung. But others grumbled at the expensive journey as a dead end, and an escape from the real, earthly problems of mankind. There were a few who could feel the nearly sacred gesture of discovery or hope a measure of the human need to connect with the remotest prospect of other beings. I suppose it was like going to the moon in 1969.