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Une Chambre En Ville (1982) (2)(+äThe World of Jacques Demy The Young Girls Turn 25)

äҹҴٵç : Ҿ¹ͧѧͧ Jacques Demy ѧ͹ҧ˹ѧͧ͹ͧ ͧŧ㹷ء¤ʹ ҹعçҷءͧ մ蹷2 äThe World of Jacques Demy The Young Girls Turn 25


Director:Jacques Demy Producer:Christine Gouze-Rénal Written by:Jacques Demy Music:Michel Colombier

Cinematography:Jean Penzer Edited:Sabine Mamou Running time:90 minutes Country:France Language:French

Genre:Drama, Musical  Subtitle:English  Starring:Dominique Sanda - Edith Leroyer, Danielle Darrieux - Margot Langlois,
Richard Berry - François Guilbaud, Michel Piccoli - Edmond Leroyer, Fabienne Guyon - Violette Pelletier, Anna Gaylor - Madame Pelletier,
Jean-François Stévenin - Dambiel, Jean-Louis Rolland - Ménager, Marie-France Roussel - Mme Sforza, Georges Blaness - Chef des CRS,
Yann Dedet - Ouvrier, Nicolas Hossein - Ouvrier, Gil Warga - Ouvrier, Antoine Mikola - Ouvrier, Marie-Pierre Feuillard - Femme à l''enfant


In the style of an operetta, like director Jacques Demy''s more famous film the Umbrellas of Cherbourg, this melodramatic story is set in Nantes in 1955 and centers around the tragedies of three or four intertwined lives. First, there is the young steel worker (Richard Berry) who is out on strike and has rented a room from an upper-class widow (Danielle Darrieux), a woman in sympathy with the strikers. The blue-collar worker has a girlfriend he finds less and less interesting just as she is more and more pregnant, and their relationship seems fated to end, one way or another. Then there is Edith (Dominique Sanda), the daughter of the widow, married to a wealthy, impotent, skinflint of a merchant caught up in his own neuroses, and, whether for that reason or several others, Edith is a part-time hooker. One evening she shows up in the worker''s rented room, wearing a fur coat and nothing else and the two share a night of passion. Now mother, daughter, the worker, and the daughter''s husband have formed a very unstable chain of relationships, due to snap because at least one link is exceedingly weak. Enhanced by excellent choreography, this film still did poorly at the box office when it was first released. In order to save it and encourage audiences to see it for its own merits, 76 French critics took out an ad in Le Monde to promote the film, and some critics said that if this movie failed, so would all of French cinema. Perhaps it is not surprising then that Chambre En Ville won the French Critics'' Prix Méliès in 1982.


Une chambre en ville (also known as A Room in Town) is a 1982 French film directed by Jacques Demy. It is a musical in which every line of dialogue is sung. The film won the Prix Méliès, and was nominated for nine César Awards: Best Film, Best Director, Most Promising Actress, Best Supporting Actor, Best Supporting Actress, Best Cinematography, Best Music, Best Production Design and Best Sound.

Special Features:
- Jacques Demy, A to Z, a new visual essay by film critic James Quandt
- Q&A with Demy from the 1987 Midnight Sun Film Festival
- Filmmaker Agnès Vardas 1995 documentary The World of Jacques Demy
- Vardas 1993 documentary The Young Girls Turn 25
- Restoration demonstration
- Trailer
- New English subtitle translation

Awards:  2 wins & 10 nominations.


Chicago International Film Festival 1983

Gold Hugo
Best Feature
Jacques Demy 

César Awards, France 1983

Best Film (Meilleur film)
Jacques Demy 
Best Supporting Actor (Meilleur acteur dans un second rôle)
Jean-François Stévenin 
Best Supporting Actress (Meilleure actrice dans un second rôle)
Danielle Darrieux 
Most Promising Actress (Meilleur jeune espoir féminin)
Fabienne Guyon 
Best Director (Meilleur réalisateur)
Jacques Demy 
Best Music (Meilleure musique)
Michel Colombier 
Best Cinematography (Meilleure photographie)
Jean Penzer 
Best Production Design (Meilleurs décors)
Bernard Evein 
Best Sound (Meilleur son)
Gérard Lamps 
André Hervée 

French Syndicate of Cinema Critics 1983

Critics Award
Best Film
Jacques Demy 

Sant Jordi Awards 1984

Sant Jordi
Best Foreign Film (Mejor Película Extranjera)
Jacques Demy 




A Highly Underrated Film Musical

Author: Scharnberg, Max from Stockholm, Sweden

''Une chambre en ville'' was thoroughly underrated from the start. In 1982 audiences no longer favoured tragic movies. BUT WHY? A generation earlier television had strongly reduced the audience of the cinemas. But television had NOT changed the taste. Video had a more profound influence. Take a standard situation. A group is watching a video which may evoke strong emotions in some of the spectators. Suddenly another catches the remote control, rewinds the movie and makes some comment (e.g., ''Girls should never have such a coiffure''). Repeated exposure to experiences of this kind may reduce the capacity for becoming emotionally aroused by movies. - Note that this is a recent development. It is easy to assemble a list of 100 very tragic movies produced 1935-1965, which at that time were highly appreciated by the average film-goer. I am even convinced that the average film-goer of this period would have loved contemporary movies such as ''Stormy Weather'' (by Solveig Anspach) and ''Les diables'' (by Christophe Ruggia).

If your aim is not emotional experience, you are likely to be disappointed by ''Une chambre en ville'', despite its excellent merits. But please note that my review is one-sided and might be misleading. I intend to say much about the music, and shall reduce all other aspects to the bare minimum. What is the plot? Workers are striking. During a demonstration one of them (Francois) is shot by the police. He dies in the arms of his beloved (Edith). But only one day earlier he had abandoned his pregnant girlfriend (Violette), because he had met a very beautiful over-class girl. Francois and Edith were immediately overwhelmed by genuine and reciprocal passion.

Even among film musicals it is infrequent that every line is sung. Hence, it is natural to compare ''Une chambre en ville'' with ''Les parapluis de Chèrbourg''. Jacques Demy directed both. But different composers (Michel Colombier and Michel Legrand) wrote the music. I think both got the manuscript most suitable for their specific talent.

The music of ''Une chambre'' differs from that of ''Les parapluis'' foremost in three respects. Without ceasing to be real film music, it is more introverted, and it is closer to opera music. But the largest difference is the director''s relation to the singers.

Whenever two persons sing simultaneously in ''Les parapluis'', you can clearly perceive the words of each. Also, simultaneous singing never transgresses the kind of dialogues that may be found in purely spoken theatre. By contrast, ''Une chambre'' contains a real duet: the loving couple sings the same text together in parallel sixths; a device clearly borrowed from the opera. - - - To avoid misunderstanding as regards my next point: numerous great composers have borrowed melodies or other things from each other. Borrowing is not a fault if the borrowed thing is used for new purposes. Since ''Une chambre'' finishes with a love scene in which one of the couple dies, it is not far-fetched to associate to Wagner''s ''Tristan and Isolde''. During the final scene of the movie the main musical theme is presented for the fourth time, and this time with new accompanying melodies played by the orchestra. Rightly or wrongly, I think that these melodies are to some extent inspired by Wagner''s opera (bar 63-73 of the overture).

Any competent musical conductor would tell the singers to take some impression of the mood of the text. But the soundtrack of ''Les parapluis'' never differs much from a neutral performance. Hence, it is hardly possible to decide whether or not Jacques Demy actually directed the singers before the soundtrack was made. But in ''Une chambre'' it could hardly be more manifest that Demy has devoted as much direction to the singers as to the actors seen on the screen. From Violette''s singing voice alone, no one could mistake her distress when Francois abandons her, and her feeling of being treated unjust when Francois tries to excuse his behaviour. - - - Suppose you do not understand French, and that you are listening to the soundtracks of both movies without seeing the pictures. You will nevertheless have a fair chance of correctly perceiving the emotions of many scenes of ''Une chambre''. You will be much less successful with ''Les parapluis''.