Les demoiselles de Rochefort

THE YOUNG GIRLS OF ROCHEFORT is Jacques Demy's followup to his popular international success, THE UMBRELLAS OF CHERBOURG. It's not the same kind of operatic musical as it's predecessor and is much more a product of it's time (and sadly, that makes it much more inaccessible to modern audiences). What you get here is a romantic farce in the old MGM tradition, with lot's of garish 60's-style color and costumes, definitely in tune to Michel Legrand's astounding jazz score. The campy outdoor dance numbers date, but thankfully give way to dynamically orchestrated instrumental versions of Legrand's music. This is definitely a movie for those who enjoy cinematic musical comedy; it's visual appeal is undeniable and each shot is lovingly designed and framed. Deneuve and Dorleac are amazing beauties and presented in their prime, which is reason enough to enjoy the picture. Michel Legrand's score is far more complex melodically and orchestrally than his more famous one for UMBRELLAS; it's a joy to listen to. About the best compliment I can pay THE YOUNG GIRLS OF ROCHEFORT is to say that it brilliantly precedes and shines with more talent and energy than the recently released MOULIN ROUGE (a film that surprisingly has a lot in common with it). Demy doesn't need any CGI, MTV-editing or pop songs to get it's simple, lovely message across! It's very nice indeed to have a restored version on DVD of Jacques Demy's LES DESMOISELLES DE ROCHEFORT!

'Girls of Rochefort' would amount to not much more than a mawkish, extremely sentimental film, if one only looked at the surface. But fortunately an original French New Waver made this (quite non-new-wavish) film and there's definitely more here if you care to look. Like its companion piece, the more popular 'Umbrellas of Cherbourg,' 'Girls of Rochefort' contains and exists to hint at and coelesce surprisingly hidden meanings behind the vulgarity and overstatement. Yes! Believe it or not these two films contain (much like the more obvious case of Jaques Tati's comedies) in their style, some of the deepest and I believe quite intentional (judging by the absolutely systematic understated style of Demy's first film 'Lola' which magnificently proves he can handle that 'understatement business' whenever it suits him) criticism of petty bourgeois values ever put on film. As for Legrand's music, it is sometimes great, sometimes extremely annoying to the point of nausea. Whether or not it was intended to actually do what it does in fact do--make the general public like it at its face and the 'artsy' people disgusted to a certain point, so they can imagine they're seeing Marxist criticism in it--will of course determine Demy's stature as either a premeditated master of cinema or a master in retrospect. Either way, mastery is the name of the game, and like the best American musicals these two flicks lend themselves to quite a bit of welcome ambiguity. As for purely visual delights: where else can you see both Francoise Dorleac and younger sister Catherine Deneauve,in their prime, blessing the screen simultaneously with their exquisite beauty?

(with apologies to Jonathan Rosenbaum...)

Watching the Hollywood musicals of Astaire and Kelly, one can't help but marvel at the skill and precision of the dancing and the mise en scene, and be buoyed by the very idea that the world could be so perfect, if only in a movie. "Rochefort" isn't perfect in the same way, but in pushing the musical to a different plane it achieves a kind of perfection, one dependent not on the talents of its cast or, as the popular Broadway musicals were, on the book & lyrics.

(Which is not to say that there isn't great music! Themes are repeated, to be sure, but Legrand's melodies delight, and there's more musical variance here than in "Umbrellas of Cherbourg".)

Musicals, like most popular entertainment, usually serve to reinforce our ideals. The 30 years since its release may have been kind, but "The Young Girls of Rochefort" is a rare thing, an entertainment that challenges, flies in the face of convention.

Of special note are the colors, delightfully absurd; the English subtitles, much of which read in perfect sync (including rhymes) with the music (a coinciding English-language verson was shot but never released); the macabre- this has to be the happiest musical with a song about an ax-murder.

The world in which this movie exists hasn't been seen on the screen before or since. Of course, all musicals are fantasy of a kind, but Demy takes it somewhere else. It is one of film's truly unique experiences.

Suspending belief and just settling back to enjoy and laugh at the high camp of this unusual musical film is a pre-requisite.

Suspending, indeed, is the way the film starts and ends, with the travelling players and their vehicles travelling on the Rochefort-Martrou Transporter Bridge built 1898-1900; only about twenty of these unusual bridges were built worldwide, and half survive with some still in use. This bridge was refurbished in 1994 and is in use in the summer months. Suspending might, too, have been the end for the axe-murderer, but we are not told.

The French Navy school, the home for the many sailors seen in the film, was Le Centre Ecole de l'Aéronautique Navale (CEAN). No more sailors like Maxence, and no more sailors' hats with their red pompons though, as the French Navy pulled out of Rochefort by 2002 after a presence that had lasted 336 years. The ribbon on the sailors' hats reads EN ROCHEFORT - Ecole Navale Rochefort.

The primary colours of the film are a defining aspect and the sunshine helps enormously; who would not want to visit Rochefort for a holiday? The Mayor will be very happy with the film's being shown again to a new generation at London's British Film Institute.

With dancing sailors and young, lithe dancers, the different groups wearing matching clothes, the film is very high camp and will have some appeal to a gay audience for sure!

The whole is colourful froth and pretty harmless fun.

Jacques Demy's THE YOUNG GIRLS OF ROCHEFORT is such a special treat--so bright, light and airy, full of wonderful music and dance--that it's difficult to over-rate it or not recommend it. And yet.

Demy is a cinema artist who always verged in the precious (in my opinion he rarely toppled over), and this may cause trouble for some. His "Umbrellas of Cherbourg" has always seemed to me a heavy-handed, repetitive, sentimental downer; "Young Girls" is very nearly its polar opposite. (Demy's wife, the wonderful filmmaker Agnes Varda, has overseen the reconstruction of this classic, and we owe her quite a debt!) Michel Legrand's music here is full of jazzy, astonishing riffs and lots of melody. Accompanying it are some delightful lyrics that are translated fittingly--if not precisely--into equally delightful English. Catherine Deneuve and her late sister Francoise Dorleac are wonderful in the title roles, and they're helped immensely by the likes of Danielle Darrieux, George Chakiris, Grover Dale, Gene Kelly (yes, an American in Rochefort!), Michel Piccoli and a young and exquisitely beautiful Jacques Perrin. The dancing is a joy, as well, as you'd expect from a film that offers Chakiris, Dale and Kelly. Characters sing of their lives and lost loves, and everything--from the pastel-painted city to the gorgeously coordinated costumes--is as unbelievable yet as wonderful as an enchanted dream.

I remember enjoying the film when it first appeared. Now, it seems not only of its time but ahead of that time and so special and perfect that I suspect certain of us will want to revisit it every few years, for as many as we have left. In a word: transporting.