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Jacquot de Nantes (1991)

PG | | Biography, Drama | 25 June 1993 (USA)
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2:34 | Trailer
Jacquot Demy is a little boy at the end of the thirties. His father owns a garage and his mother is a hairdresser. The whole family lives happily and likes to sing and to go to the movies. ... See full summary »

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Cast

Cast overview, first billed only:
Philippe Maron ...
Jacquot 1
Edouard Joubeaud ...
Jacquot 2
Laurent Monnier ...
Jacquot 3
Brigitte De Villepoix ...
Marilou, la mere
Daniel Dublet ...
Raymond, le pere
Clément Delaroche ...
Yvon 1
Rody Averty ...
Yvon 2
Hélène Pors ...
Reine 1
Marie-Sidonie Benoist ...
Reine 2
Jérémie Bernard ...
Yannick 1
Cédric Michaud ...
Yannick 2
Julien Mitard ...
Rene 1
Jérémie Bader ...
Rene 2
Guillaume Navaud ...
Cousin Joel
Fanny Lebreton ...
La petite refugiee
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Storyline

Jacquot Demy is a little boy at the end of the thirties. His father owns a garage and his mother is a hairdresser. The whole family lives happily and likes to sing and to go to the movies. Jacquot is fascinated by every kind of show (theatre, cinema, puppets). He buys a camera to shoot his first amateur film... An evocation of French cineast Jacques Demy's childhood and vocation for the cinema and the musicals. Written by Yepok

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Plot Keywords:

cinema | puppet | boy | garage | childhood | See All (177) »

Genres:

Biography | Drama

Certificate:

PG | See all certifications »
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Release Date:

25 June 1993 (USA)  »

Also Known As:

Jacquot  »

Box Office

Gross:

$149,200 (USA)
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Did You Know?

Trivia

A tribute to Agnès Varda's husband of 33 years, Jacques Demy. The scenes of Demy's childhood were shot in the actual house that he grew up in. See more »

Connections

Features The Pied Piper (1972) See more »

Soundtracks

Que ma joie
Written by Johann Sebastian Bach
Performed by Jean-Charles Giraud
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User Reviews

 
a farewell visual memoir of Jacques Demy
15 April 2015 | by (Cairo, Egypt) – See all my reviews

My second Varda's entry (after CLEO FROM 5 TO 7 1962, 7/10) is her cinematic eulogy to her late husband, the filmmaker Jacques Demy (1931-1990) after 28 years of marriage, who passed away one year before the film's release, recounts Demy's life from childhood to adolescence in Nantes, re-enacts mostly sketchy episodes of that time from Demy's memoir, particularly during the Occupied France in WWII and Jacquot (Jacques' nickname) 's ever-growing passion towards cinema.

Named after his paternal grandfather, it is unexpectedly poignant when a young Jacques (played by Maron, Joubeau and Monnier in different ages) is bringing to visit his grandpa's grave and see his own name on the tombstone, as if the reincarnation just completes another circle. Demy's father Raymond (Dublet) is a mechanic and his mother Marilou (De Villepoix) is a coiffeuse, they own a garage and he has a younger brother Yvon (Delaroche, Averty in different ages). Most of the narrative is conveyed with unaffected naturalism by its cast under a blanched monochrome, with whimsical coloured-shots materialise irregularly and presumably function as indicators which influence Demy's life afterwards, like Theatre Guignol.

Varda's essayist construal of the biographical texts largely restores Jacquot's early years in a lifelike form, as a documentary made in 1930-40s, details mostly convivial vignettes with references in Demy's own distinguished oeuvre - in my case I only watched DONKEY SKIN (1970, 4/10) and THE UMBRELLAS OF CHERBOURG (1964, 7/10) - introduced and bookended by opposite pointing fingers respectively, and underlined with a miscellany of Demy's favourite classical music.

From a carefree child who enjoys marionette show, to a bit older in the Occupation period, becomes repulsive towards the war, then in the latter half, the film's focus shifts to the zealousness of cinema, not only a frequent spectator, the young Jacquot self-studies rudimentary knowledge of cinematography, makes his own live-action and animation shorts with a hand-hold camera bartered from an antique shop, and plays them at home on an ersatz screen set in the closet. Destiny has been kind to him, a chief struggle is his working-class father's initial disagreement of Demy's decision to throw himself into the movie business, but when he realises his son does have the talent, he is sensible enough to let him go to Paris, where the film eventually draws to a close.

JACQUOT DE NANTES is Varda's personal but endearing portrayal of her beloved husband, a farewell visual memoir of him, there are brief documentaries of an ailing Demy talking feebly in his last days, and near-end, the macro close-ups of his wrinkles, grey stubble and finally zoom in on his nebulous eyes, like a valedictory gaze during the final stage of a sacred catharsis to let him go, the film itself stands as a testimony of their ever-lasting love, poetically and romantically, it evokes great intimacy towards those we love and cherishes the time when we are together.


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