it was heart-breaking. That's all right. I like to have my heart broken." Demy's subsequent films never quite captured audience and critical acclaim the way Les Parapluies did, although he continued to make ambitious and original dramas and musicals. Les Demoiselles de Rochefort (1967), another whimsical-yet-melancholic musical, features Deneuve and her sister Françoise Dorléac as sisters living in the seaside town of Rochefort, daughters of Danielle Darrieux. It was shot in color widescreen CinemaScope and featured an Oscar-nominated musical score as well as dance appearances by Gene Kelly and West Side Story'''s George Chakiris. In 1968, after Columbia Pictures gave Demy a lucrative offer to shoot his first film in America, he and his wife, film director Agnès Varda, moved to Los Angeles briefly. Demy's movie was a naturalistic drama: 1969's Model Shop. Lola (Anouk Aimée) reappears, her dreams shattered, her life having taken a turn for the worse. Abandoned by her husband Michel for a female gambler named Jackie Demaistre (Jeanne Moreau's character from Bay of Angels), Lola is scrounging to make enough money to return to France and her child by working as a nude model in a backdoor model-shop on the Sunset Strip. She runs into an aimless, young architect (Gary Lockwood), who navigates the streets of Los Angeles; like Lola, he is looking for love and meaning in life. Model Shop is a time capsule of late-1960s Los Angeles and documents the death of the hippie movement, the Vietnam draft, and the ennui and misery that results from broken relationships. This bleakness and decided lack of whimsy—uncharacteristic for Demy—had a large amount to do with Model Shop's critical and commercial failure.Peau d'Âne (Donkey Skin, 1970) was a step in the opposite direction as a visually extravagant musical interpretation of a classic French fairy tale which highlights the tale's incestuous overtones, starring Deneuve, Jean Marais, and Delphine Seyrig. It was Demy's first foray into the world of fairy tales and historical fantasia, which he explored in The Pied Piper and Lady Oscar.Although none of Demy's subsequent films captured the contemporary success of his earlier work, some have been reappraised: David Thomson wrote about "the fascinating application of the operatic technique to an unusually dark story" in Une chambre en ville (A Room in Town, 1982). L'événement le plus important depuis que l'homme a marché sur la lune (1973) ("A Slightly Pregnant Man") is a look back at