[Originally published in Movietone News 45, November 1975]
Jacques Demy’s best films—Lola, TheYoungGirlsofRochefort—wave the silk scarf of an absurd romanticism so expertly over the abrasive realities of The World We Live In—unwanted pregnancies, painful, irrational separations, grotesquely violent death—that our appreciation of both textures is deeply enhanced in the delirious cinematic process. DonkeySkin, his 1970 retelling of the Perreault fairy tale, almost entirely lacks this sense of imaginative play and stylistic chance-taking. As such, it makes for a pre-afternoon-nap children’s story more elaborately visualized than most, but serves little other purpose.
The Essential Jacques Demy(Criterion, Blu-Ray+DVD Dual-Format set) collects six features and a few early shorts from the Nouvelle Vague‘s sadder-but-wiser romantic. It’s not my intention to rate him against the movement’s most famous filmmakers – Godard, Truffaut, Chabrol, Rohmer, Rivette, Varda – but just to find his place among them. Like so many of his fellow directors, Rivette loved American movies, especially musicals, but his taste for American musicals and candy-colored romance was balanced with a bittersweet sensibility. For all the energizing music and dreamy love affairs, his romances more often than not don’t really get happy endings.
Criterion’s 13-disc set, one of their last to come out in the Blu-Ray+DVD Dual-Format, picks six of his defining films from his 1961 debut to his 1982 Une Chambre en Ville, which makes its American home video debut in this set, all transferred from restored and remastered HD editions.
Lola (1961) is a bittersweet musical without the music, lovingly shot in Demy’s hometown of Nantes in black and white CinemaScope by Nouvelle Vague master Raoul Coutard, and set to a lovely score by Michel Legrand. Anouk Aimee, whose appearance in lacy tights, boa, and top hat made her an eternal pin-up dream, is a single mother looking for the father of her child in the port towns of Nantes. As in so many of his films, Demy reveals himself as both eager romantic and sadder-but-wiser realist, and for all the dashed dreams of the film it still manages to have its swoony romantic fantasy come true.
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[Originally published in Movietone News 45, November 1975]
