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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。向你奔去的速度493km外星也难民第四季千年湖狙击速递警急任务绝对男友南少林20夜1雨天亲爱的莫妮卡金枝玉叶到了30岁还是处男，似乎会变成魔法师动画版左右地球脉动第一季弗兰克和辛迪塑料的故事叱咤风云二胎时代致命武器狂赌之渊真人版青春方程式恐怖爆发蛇舌浴血华沙封神传奇我的老公是小白粽邪2018甜心俏佳人第五季夺命姐妹花永远的田野一条狗的回家路（原声版）大爆炸兽拳战队激气连者特别DVDgyungyun！拳圣大运动会时间之旅满汉全席易燃的孩子彩色砂最后的警官：夺还秘密的女人富二代上班记授她以柄王昭君1964恩赐之地 第三季天城峡疑案龙墓魅影沃尔夫冈美味求婚
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。向你奔去的速度493km外星也难民第四季千年湖狙击速递警急任务绝对男友南少林20夜1雨天亲爱的莫妮卡金枝玉叶到了30岁还是处男，似乎会变成魔法师动画版左右地球脉动第一季弗兰克和辛迪塑料的故事叱咤风云二胎时代致命武器狂赌之渊真人版青春方程式恐怖爆发蛇舌浴血华沙封神传奇我的老公是小白粽邪2018甜心俏佳人第五季夺命姐妹花永远的田野一条狗的回家路（原声版）大爆炸兽拳战队激气连者特别DVDgyungyun！拳圣大运动会时间之旅满汉全席易燃的孩子彩色砂最后的警官：夺还秘密的女人富二代上班记授她以柄王昭君1964恩赐之地 第三季天城峡疑案龙墓魅影沃尔夫冈美味求婚
长篇影评
1 ) 《秋水伊人》——雨伞下的法国香颂
“我们的爱还剩下什么，还剩下什么美丽的日子？
一张照片，一张老照片，我年轻的时候。
除了那略有些温度的票和四月的约会，
还剩下什么。
回忆跟着我，永不会停。”
——爱情余烬（Que reste-t-il de nos amours）
法国香颂和歌剧。
歌剧起源并成形于十六、十七世纪的意大利。那个时候的歌剧段落分明：宣叙调、咏叹调、重唱、合唱，有些还有幕间的间奏和舞蹈。到了十九世纪，德国作曲家瓦格纳认为这种形式呆板、陈旧，炫技的音乐段落影响了歌剧的整体效果。在“漂泊的荷兰人”之后，瓦格纳的歌剧不再分段，而是采取“无终旋律”，即乐曲从头到尾相互承接形成情感的延续，将歌剧推行到一个新的阶段。法国作曲家德彪西很推崇瓦格纳的方式，但是德语歌剧的旋律并不适合法语发音的特点，于是德彪西发展了一种更适合于法语的歌剧，和以往的意大利歌剧比起来更加像朗诵和喃喃私语，让本身就音质柔软的法语更为动听。
一提到法国，人们想到的无非是镁光灯焦点的艾菲尔铁塔、绿树成荫的香榭丽舍大道、陈列珍品的卢浮宫，还有就是婉转低回的法国香颂。这些映像都成就了世界眼中浪漫的国度法国，而香颂自然就成了这种浪漫情调的颂歌。实际上，法国香颂比人们印象中的范围要宽泛许多。“香颂”的法语原意是“歌曲”，这种歌曲多以叙事的乐曲组成，叙事的主题除了爱情还有各样思绪、哀歌、文学、幻想、政治等等。由于香颂最早是从街头的小酒馆和咖啡店传出，也就没有大音乐厅式的华丽配乐，非常随性且没有固定的乐器，这样恰好赋予香颂以一种自然简单慵懒的特质。这样看，香颂倒有些像新奥尔良的爵士乐，这种音乐最早是穷人们宣泄情感的一种音乐，在小号如泣如诉的伴奏中将生活的情感融入到音乐中去。比起爵士乐骨子里挥之不去的苦痛，香颂更讲究歌词的意境、曲调的优美，这都和法国人无忧无虑追求美好的生活态度息息相关。
秋水伊人。
让-雅克•德米在1964年的电影“秋水伊人”不仅让导演戛纳金棕榈的美梦一夜成真，也让世人感受了法国香颂以歌剧形式展现在银幕上的一次完美演出。电影汲取了德彪西歌剧的特点：没有纯粹的念白，每句对白都是音符的飘动，而这种乐曲又具有香颂的优雅迷人。
在故事中，凯瑟琳•德纳芙扮演17岁的少女日内维耶，她不顾母亲的反对和加油站的小伙子盖伊相爱。一切就像歌中所唱的，谁都有过的美丽岁月，在20岁的年纪，连做梦的颜色都是爱情，一个吻就让街头的恋人紧紧拥抱，人们体会了人生中第一次为了爱情而奋不顾身的感觉。可是再美的歌曲也会结束，就像茫茫人海中那些戛然而止的爱情。
阿尔及利亚的战争送盖伊走上了战场，远离了他心爱的日内维耶，他们只能盼望着每天的日升日落，靠鸿雁传书，爱情在遥远的路途和时间中慢慢消磨。分离让人们渐渐忘却彼此的容颜，到最后只能凭借着照片上的样子才能想起对方的样子，梦中的脸孔逐渐模糊成一张褶皱发黄的黑白照片。如果说思念还是可以承受的疼痛，那么日内维耶肚子里日渐长大的生命则是她无法逃避的问题。遥遥无归期的盖伊，还有冷清的雨伞店生意，让日内维耶一点点失去面对生活的勇气，她接受了钻石商罗兰•卡萨尔德的爱情，那也是一个经历过生命和爱情的男人，肯真心待她。
从战场上回到家乡的盖伊，失去了日内维耶，失去了工作，只能拖着一条跛腿，那条病腿在下雨时便会隐隐作痛，仿佛在祭奠他远去的爱情。
多年后，日内维耶和盖伊在加油站再次相遇。两个人都有了自己幸福的家庭和孩子，他们没有互诉衷肠，只是长久的相互凝视。唯一依稀还能看到彼此无法抹去的思念，证明着他们曾经存在的爱情，是他们孩子的名字，都叫做弗朗索瓦（娃）。
比后一别无归期，咫尺相隔成天涯。
这部电影虽然在当年赢得了高度评价和赞誉，却和“一个男人和一个女人”一样，在多年后被人们所诟病，认为如此的奖项实在过誉。在感情方面，电影确实缺乏铺垫和过渡，没能细腻的体现日内维耶和盖伊不能相爱的痛苦，只是仓促的让两人都找到了归宿。多年后的那场相见，本来该是多么让心灵颤抖的哀伤阿，却由于男主人公过于无动于衷的表演大大削弱了悲伤的感觉，白白浪费了凯瑟琳•德纳芙入神而心碎的眼神。对于这种在战争中感情受到的伤害，雅克•德米也是稍稍带过，并未触及太多政治和家庭问题，这也是导致很多人认为电影不够深刻的原因之一。
电影的色彩语言。
导演最为吸引人和成功的，除了音乐，还有对于色彩语言的把握。他用绿色、蓝色、黄色、红色、黑色这几个基本色彩就调制出了一种爱情的浪漫与灼伤心灵的激情，每个人的性格也在这些颜色中逐渐鲜明。在电影中，主人公衣服颜色的变化也暗示了情节的发展，非常精妙。
桃红色、黄色和黑色是日内维耶的颜色，她有着桃红色所代表的青春和美丽，犹如含苞待放的花朵，黄色衬托着她如日出般灿烂的容貌和活力，每当黑色出现在她身上都预示着不祥的事情，一次是盖伊被征兵上战场，一次是她母亲的去世。当日内维耶和盖伊的感情日渐深厚，她的衣裙也从起先的桃红色变成了天蓝色，那是属于盖伊的颜色，她全身心都只有盖伊，只有她的爱情。
属于盖伊的色彩是蓝色、绿色和咖啡色，绿色是自由的颜色，盖伊虽然贫穷但自由奔放，这也是吸引日内维耶的原因之一。蓝色是天空的颜色，那片美丽却遥不可及的天空仿佛从一开始都注定这是一段无法企及的感情。
富商罗兰•卡萨尔德的衣服多为黑色的西装，衬衣和领带则为递进的蓝色，表示着他也曾经经历过为情所困的岁月：他也曾经爱过一个女人，但是由于她心有所属，罗兰只好逃到世界的尽头只为了忘记她。这段经历让他有了深沉的感情，也让日内维耶从他身上找到归宿。
当日内维耶的感情渐渐倾斜到卡萨尔德的身上时，她朴素的蓝色衣服上盛开了鲜艳的花朵。直到最后走上礼堂，她一身雪白的婚纱，算是彻底告别了以往的爱情。而盖伊心境的变化也通过衣服的颜色体现出来，他从战场回来后，大片的咖啡色遮盖了原先的蓝色，当他得知日内维耶嫁作他人妇后，更是彻底将蓝色从身上清除掉。这预示着他摆脱了那些不切实际为爱感伤的年龄，开始为今后的生活作打算。在最后的一次相遇中，两人的衣服都有浓重的黑色，是一种挥之不去的伤感和哀悼。
凋零的幸福，四月的约会，被偷走的那个吻，深藏的昔日风景，这一切都回荡在回忆的深处。是一首唱不完的法国香颂，是一场雨伞下的爱情余烬。
转载请注明作者：九尾黑猫
http://www.mtime.com/my/LadyInSatin/blog/517608/
一张照片，一张老照片，我年轻的时候。
除了那略有些温度的票和四月的约会，
还剩下什么。
回忆跟着我，永不会停。”
——爱情余烬（Que reste-t-il de nos amours）
法国香颂和歌剧。
歌剧起源并成形于十六、十七世纪的意大利。那个时候的歌剧段落分明：宣叙调、咏叹调、重唱、合唱，有些还有幕间的间奏和舞蹈。到了十九世纪，德国作曲家瓦格纳认为这种形式呆板、陈旧，炫技的音乐段落影响了歌剧的整体效果。在“漂泊的荷兰人”之后，瓦格纳的歌剧不再分段，而是采取“无终旋律”，即乐曲从头到尾相互承接形成情感的延续，将歌剧推行到一个新的阶段。法国作曲家德彪西很推崇瓦格纳的方式，但是德语歌剧的旋律并不适合法语发音的特点，于是德彪西发展了一种更适合于法语的歌剧，和以往的意大利歌剧比起来更加像朗诵和喃喃私语，让本身就音质柔软的法语更为动听。
一提到法国，人们想到的无非是镁光灯焦点的艾菲尔铁塔、绿树成荫的香榭丽舍大道、陈列珍品的卢浮宫，还有就是婉转低回的法国香颂。这些映像都成就了世界眼中浪漫的国度法国，而香颂自然就成了这种浪漫情调的颂歌。实际上，法国香颂比人们印象中的范围要宽泛许多。“香颂”的法语原意是“歌曲”，这种歌曲多以叙事的乐曲组成，叙事的主题除了爱情还有各样思绪、哀歌、文学、幻想、政治等等。由于香颂最早是从街头的小酒馆和咖啡店传出，也就没有大音乐厅式的华丽配乐，非常随性且没有固定的乐器，这样恰好赋予香颂以一种自然简单慵懒的特质。这样看，香颂倒有些像新奥尔良的爵士乐，这种音乐最早是穷人们宣泄情感的一种音乐，在小号如泣如诉的伴奏中将生活的情感融入到音乐中去。比起爵士乐骨子里挥之不去的苦痛，香颂更讲究歌词的意境、曲调的优美，这都和法国人无忧无虑追求美好的生活态度息息相关。
秋水伊人。
让-雅克•德米在1964年的电影“秋水伊人”不仅让导演戛纳金棕榈的美梦一夜成真，也让世人感受了法国香颂以歌剧形式展现在银幕上的一次完美演出。电影汲取了德彪西歌剧的特点：没有纯粹的念白，每句对白都是音符的飘动，而这种乐曲又具有香颂的优雅迷人。
在故事中，凯瑟琳•德纳芙扮演17岁的少女日内维耶，她不顾母亲的反对和加油站的小伙子盖伊相爱。一切就像歌中所唱的，谁都有过的美丽岁月，在20岁的年纪，连做梦的颜色都是爱情，一个吻就让街头的恋人紧紧拥抱，人们体会了人生中第一次为了爱情而奋不顾身的感觉。可是再美的歌曲也会结束，就像茫茫人海中那些戛然而止的爱情。
阿尔及利亚的战争送盖伊走上了战场，远离了他心爱的日内维耶，他们只能盼望着每天的日升日落，靠鸿雁传书，爱情在遥远的路途和时间中慢慢消磨。分离让人们渐渐忘却彼此的容颜，到最后只能凭借着照片上的样子才能想起对方的样子，梦中的脸孔逐渐模糊成一张褶皱发黄的黑白照片。如果说思念还是可以承受的疼痛，那么日内维耶肚子里日渐长大的生命则是她无法逃避的问题。遥遥无归期的盖伊，还有冷清的雨伞店生意，让日内维耶一点点失去面对生活的勇气，她接受了钻石商罗兰•卡萨尔德的爱情，那也是一个经历过生命和爱情的男人，肯真心待她。
从战场上回到家乡的盖伊，失去了日内维耶，失去了工作，只能拖着一条跛腿，那条病腿在下雨时便会隐隐作痛，仿佛在祭奠他远去的爱情。
多年后，日内维耶和盖伊在加油站再次相遇。两个人都有了自己幸福的家庭和孩子，他们没有互诉衷肠，只是长久的相互凝视。唯一依稀还能看到彼此无法抹去的思念，证明着他们曾经存在的爱情，是他们孩子的名字，都叫做弗朗索瓦（娃）。
比后一别无归期，咫尺相隔成天涯。
这部电影虽然在当年赢得了高度评价和赞誉，却和“一个男人和一个女人”一样，在多年后被人们所诟病，认为如此的奖项实在过誉。在感情方面，电影确实缺乏铺垫和过渡，没能细腻的体现日内维耶和盖伊不能相爱的痛苦，只是仓促的让两人都找到了归宿。多年后的那场相见，本来该是多么让心灵颤抖的哀伤阿，却由于男主人公过于无动于衷的表演大大削弱了悲伤的感觉，白白浪费了凯瑟琳•德纳芙入神而心碎的眼神。对于这种在战争中感情受到的伤害，雅克•德米也是稍稍带过，并未触及太多政治和家庭问题，这也是导致很多人认为电影不够深刻的原因之一。
电影的色彩语言。
导演最为吸引人和成功的，除了音乐，还有对于色彩语言的把握。他用绿色、蓝色、黄色、红色、黑色这几个基本色彩就调制出了一种爱情的浪漫与灼伤心灵的激情，每个人的性格也在这些颜色中逐渐鲜明。在电影中，主人公衣服颜色的变化也暗示了情节的发展，非常精妙。
桃红色、黄色和黑色是日内维耶的颜色，她有着桃红色所代表的青春和美丽，犹如含苞待放的花朵，黄色衬托着她如日出般灿烂的容貌和活力，每当黑色出现在她身上都预示着不祥的事情，一次是盖伊被征兵上战场，一次是她母亲的去世。当日内维耶和盖伊的感情日渐深厚，她的衣裙也从起先的桃红色变成了天蓝色，那是属于盖伊的颜色，她全身心都只有盖伊，只有她的爱情。
属于盖伊的色彩是蓝色、绿色和咖啡色，绿色是自由的颜色，盖伊虽然贫穷但自由奔放，这也是吸引日内维耶的原因之一。蓝色是天空的颜色，那片美丽却遥不可及的天空仿佛从一开始都注定这是一段无法企及的感情。
富商罗兰•卡萨尔德的衣服多为黑色的西装，衬衣和领带则为递进的蓝色，表示着他也曾经经历过为情所困的岁月：他也曾经爱过一个女人，但是由于她心有所属，罗兰只好逃到世界的尽头只为了忘记她。这段经历让他有了深沉的感情，也让日内维耶从他身上找到归宿。
当日内维耶的感情渐渐倾斜到卡萨尔德的身上时，她朴素的蓝色衣服上盛开了鲜艳的花朵。直到最后走上礼堂，她一身雪白的婚纱，算是彻底告别了以往的爱情。而盖伊心境的变化也通过衣服的颜色体现出来，他从战场回来后，大片的咖啡色遮盖了原先的蓝色，当他得知日内维耶嫁作他人妇后，更是彻底将蓝色从身上清除掉。这预示着他摆脱了那些不切实际为爱感伤的年龄，开始为今后的生活作打算。在最后的一次相遇中，两人的衣服都有浓重的黑色，是一种挥之不去的伤感和哀悼。
凋零的幸福，四月的约会，被偷走的那个吻，深藏的昔日风景，这一切都回荡在回忆的深处。是一首唱不完的法国香颂，是一场雨伞下的爱情余烬。
转载请注明作者：九尾黑猫
http://www.mtime.com/my/LadyInSatin/blog/517608/
2 ) 圓夢，僅此而已！
看本片完全是因為N多年前我在一雜誌上讀到本片的介紹心中湧起想看的渴望。這麽多年過去心願終於了了，才發現流逝的歲月導致的物是人非會是如此驚人，我不得不承認，我已經不是以前那個我了。想想當年如果有機會一睹本片的容顏會是怎樣的沈醉？那時外面的一切對於我都是美的，香的，我不做選擇的吸收，享受。現在我早已不是那種不做選擇的狀態了，而且自己的認知也不僅僅只會吸收，享受了。我要比較，然後分析，總結。這樣一來，本片對我的唯一價值 就只剩下圓夢了。有點遺憾，因為這個夢有點失落，但是這種失落建立在對更廣闊的世界的認知，理解和欣賞上。應該為它感到高興。
3 ) 瑟堡的雨伞
这可不是一言不合就开唱的美式歌舞片，德米的这部经典之作压根就没有“言”，全程唱了1个半钟头，这当然与法语独特的韵律感分不开，既然要全唱，话语部分必然精炼，《瑟堡的雨伞》像一部纯粹的舞台剧，在色彩上“大动干戈”，以极致浪漫的方式超脱于现实主义，故事追求纯粹的戏剧性，角色任何一次的重大转变之前都没有絮絮叨叨的心理分析，于是我看到了美，完全无关情节上的自我投射，看那些在爱情中无法自拔或遍体鳞伤的男男女女，本身就足够了~
4 ) 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。
5 ) 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.
6 ) 圓夢，僅此而已！
看本片完全是因為N多年前我在一雜誌上讀到本片的介紹心中湧起想看的渴望。這麽多年過去心願終於了了，才發現流逝的歲月導致的物是人非會是如此驚人，我不得不承認，我已經不是以前那個我了。想想當年如果有機會一睹本片的容顏會是怎樣的沈醉？那時外面的一切對於我都是美的，香的，我不做選擇的吸收，享受。現在我早已不是那種不做選擇的狀態了，而且自己的認知也不僅僅只會吸收，享受了。我要比較，然後分析，總結。這樣一來，本片對我的唯一價值 就只剩下圓夢了。有點遺憾，因為這個夢有點失落，但是這種失落建立在對更廣闊的世界的認知，理解和欣賞上。應該為它感到高興。
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。
重看@phenomena 2K修复版。但凡未得到，但凡是过去，总是最登对。
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。
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...
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……
这片儿其实一点都不甜，根本就是篇虐文……
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。
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。。
女二比女主漂亮，男二比男主有魅力，大家都没有选错
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
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！
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
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。
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
在电影中，人们才会为爱情死去
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！？
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....
最爱的与陪你走完一生的不一定非要是同一人儿
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。