Nantes 1955, is the setting for this rarely seen film by Jacques Demy, one of French directors most influenced by the American musicals of his youth. This film followed two other innovative films by M. Demy, "The Umbrellas of Cherbourg" and "The Young Girls of Rochefort", both surprising creations of a man who understood how to combine drama and music with good results.

On this picture, M. Demy had a new collaborator, Michel Colombier, a talented musician on his own. Michel Legrand, the composer of the two previous efforts, was not involved in this project, which could have used some of his wit and clear precision with the music of the production. It is nevertheless, a worthy try to combine all the elements behind the drama into a musical that was a departure from his first ventures into this artistic form.

At heart, the film has all the elements to; make a statement of the conditions of the metal workers on strike and a domestic drama. Edith, a young married woman, trapped in a loveless marriage sees no way out of her situation. She resorts to picking up men as she roams the streets of Nantes naked under her fur coat. Francois Guilbaud, a striking metal worker, has found a room in the apartment of Margot Langlois an impoverished noblewoman with a drinking problem.

Francois has been seeing Violette, a sales lady for the local department store. She is hopeful Francois will marry her as she finds their romance has left her pregnant. It is at this time Edith meets Francois during her nocturnal walk. It is clear to see why Edith falls for the handsome Francois, a sharp contrast with her jealous husband, Edmond Leroyer. The drama is complicated as all the elements in the tragedy converge toward a climactic finale.

Dominique Sanda, at the height of her beauty, is marvelous as Edith. A young Richard Berry plays Francois with conviction. Danielle Darrieux, an exquisite classic actress, surprises with her role of Mme. Langlois. Michel Piccoli wearing a hideous reddish wig has some good moments as Edmond, the man who feels betrayed by the younger woman he married. Fabienne Guyon appears as Violette.

Despite a reasonably varied output Jacques Demy is destined to be remembered by film buffs as the onlie begetter of The Umbrellas of Cherbourg and by admirers of Cole Porter, Larry Hart, Frank Loesser, Johnny Mercer etc as the William MacGonigall of lyricists, indeed Demy established something of a record in the number of banal lyrics he has committed to celluloid. Defenders will argue that in creating 'sung-through' musicals he was not looking for extractable hit songs (though in English translations two did emerge from Cherbourg). That first musical was bittersweet albeit brightly lit whereas this last entry is much more dark as reflected in the sombre reds and blues. Set against a strike it all ends in tears but along the way Danielle Darrieux, and Richard Berry weigh in with some fine work. Definitely watchable.

"Une Chambre de Ville" is a tragic opera set during the strike of a shipyard workers union in 1955. Against the backdrop of clashes between police and strikers, the story is about two star-crossed lovers.

Francois is one of the striking workers and Edith is the dissatisfied wife of a television salesman. Fate brings them together and the result feels Shakespearian. They sing of never-ending love, but this is a story about unhappiness--for them and the other main characters.

Though the lyrics/dialogue are rather unpoetic in a classical sense, the music is powerful and lyrical. Indeed, the musical score is one of the best parts of the film.

Noticeable attention has been paid the scenery, with an emphasis on bright colors, providing striking images.

The actors have adequate singing voices, but the central theme--the great love of Francois (Richard Berry) and Edith (Dominique Sanda)-- is unconvincing. Their love feels rather conventional, certainly not a love for the ages. The viewer wants to feel that each is an island oasis of love for the other, driving them to heights of passion and personal transformation. But instead they feel like two losers who converge for a desperate evening and remain unchanged. The musical score, which is so strong, promises a classic story of love, like "Phantom of the Opera", but the characters fall far short.

The film's ending is abrupt, and it serves to undermine the theme of everlasting love.