Critic Reviews
| 100 |
Chicago Reader
A heartfelt, passionate, tragic musical suite made up of these formulas, which the film both celebrates and wryly examines to discover their inner logic: how they actually work, what they do and don't do.
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| 90 |
Washington Post
Demy, his cinematographer Jean Rabier and production designer Bernard Evein created an operatic masterpiece of romanticism, which makes a modest but effective antidote to the harsh era of cynicism that has pervaded world cinema ever since.
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| 90 |
Washington Post
A glorious romantic confection unlike any other in movie history.
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| 90 |
Los Angeles Times
The Umbrellas of Cherbourg has stood the test of time as beautifully as Deneuve and seems likely to enchant future generations as fully as it has audiences over the past four decades.
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| 88 |
Chicago Sun-Times
A surprisingly effective film, touching and knowing and, like Deneuve, ageless.
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| 88 |
ReelViews
Although most movies favor passion and true love, The Umbrellas of Cherbourg shows that another less demanding, more subtle kind of love has its own appeal.
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| 70 |
Village Voice
The wonderful-terrible dervish of Umbrellas reaches peak abandon, worthy of Vincente Minnelli, when Geneviève sobs out a plaint for Guy as a carnival whirls outside the shop.
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| 70 |
TV Guide
Staff (Not Credited)
By inflating the life of a common shop girl into a musical spectacle, Demy succeeds in turning a tedious existence into a fantasy, yet he and cinematographer Jean Rabier and art director Bernard Evein do so without creating a false world. [review of original release]
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| 70 |
Variety
Staff (Not Credited)
It takes nerve to make a pic in which all dialog is sung. Also, there is no dancing and this is not a filmed operetta or opera. [review of original release]
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