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The work of the ‘sabotier’, the clogmaker, is followed in all its phases, unchanged with time, just the same as the director recollected them from his childhood. ‘This was the basic idea of the film: some kind of happiness found within ourselves, after having spent our life well and wisely. Unlike my later films, I made a very careful ‘découpage’ from the shots taken, because I didn’t know where I was going and I wanted to know whether I could use a cinecamera... In reality, I had forgotten about it, it was a remake: I had done , on a 9.5, a first version of ‘Le sabotier’ when I was about fifteen or sixteen years old, before I went to Paris. It was only a documentary, much more than the second one because I was staying there, I found myself in that house: so I didn’t have the memory of that house, I just filmed what I had in front of me’. (Jaques Demy).
Jacques Demy (1931 - 1990) was one of the most important directors of the Nouvelle Vague. He started as the assistant of the documentarist Georges Rouquier. Then, after some outstanding documentary work, he passed over to the direction of a subject long-running film, Lola, donna di vita (1961), one of the most extraordinary films of the whole movement. Particularly attracted to sentimental drama, Demy was the author of two of the most important French musicals: Les parapluies de Cherbourg (1963) and Les demoiselles de Rochefort (1966). They both starred the sisters Francoise Dorléac and Catherine Deneuve.
Edizione 2005
Retrospettiva Verità della finzione. Alle radici del cinema diretto
DOCUMENTARY
France , 1955, 26'
REGIA/DIRECTOR
Jacques Demy
TAGS:
Work, Traditions
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