#pierre magnier

[gatutor]

Pierre Magnier-Ivy Close "La rueda" (La roue) 1923, de Abel Gance.

[postcard-from-the-past]

Sarah Bernhardt and Pierre Magnier

French vintage postcard

[byneddiedingo]

Jean Renoir, Roland Toutain, and Nora Gregor in The Rules of the Game (Jean Renoir, 1939)

Cast: Nora Gregor, Paulette Dubost, Mila Parély, Odette Talazac, Claire Gérard, Anne Mayen, Lise Elina, Marcel Dalio, Julien Carette, Roland Toutain, Gaston Modot, Jean Renoir, Pierre Magnier. Screenplay: Jean Renoir, Carl Koch. Cinematography: Jean Bachelet. Production design: Max Douy, Eugène Lourié. Film editing: Marthe Huguet, Marguerite Renoir. 

The first time I saw The Rules of the Game, many years ago, I didn't get it. I knew it was often spoken of as one of the great films, but I couldn't see why. I had been raised on Hollywood movies, which fell neatly into their assigned slots: love story, adventure, screwball comedy, satire, social commentary, and so on. Jean Renoir's film was all of those things at once, to my confusion. I had to be weaned from narrative formulas to realize why this sometimes madcap, sometimes brutal tragicomedy is regarded so highly. And I had to learn why the period it depicts, the brink of World War II, isn't just a point in the rapidly receding past, but the emblematic representation of a precipice that the human world always seems poised upon, whether the chief threat to civilization is fascism, pandemic, or global climate change. The Rules of the Game is about us, dancing merrily on the brink, trying to ignore our mutual cruelty and to deny our blindness. Renoir's characters are blinded by lust and privilege, and they amuse us until they do horrible things like wantonly slaughter small animals or play foolish games whose rules they take too lightly. I'm afraid that makes one of the most entertaining (if disturbing) films ever made seem like no fun at all, but it should really be taken as a warning never to ignore the subtext of any work of art. Much of the film was improvised from a story Renoir provided, to the glory of such performers as Marcel Dalio as the marquis, Nora Gregor as his wife, Paulette Dubost as Lisette, Roland Toutain as André, Gaston Modot as Schumacher, Julien Carette as Marceau, and especially Renoir himself as Octave. Renoir's camera prowls relentlessly, restlessly through the giddy action and the sumptuousness of the sets by Max Douy and Eugène Lourié. It's not surprising that one of Renoir's assistants was the legendary photographer Henri Cartier-Bresson. And, given my own initial reaction to the film, it's also not surprising that The Rules of the Game was a critical and commercial flop, trimmed to a nubbin of its original length, banned by the Vichy government, and after its negative was destroyed by Allied bombs in 1942, potentially lost forever. Fortunately, prints survived, and by 1959 Renoir's admirers had reassembled it for a more appreciative posterity.

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 5 / 10

Título Original: Astérix aux jeux olympiques

Año: 2008

Duración: 116 min

País: Francia

Dirección: Thomas Langmann, Frédéric Forestier

Guion: Alexandre Charlot, Olivier Dazat, Thomas Langmann, Franck Magnier. Cómic: René Goscinny, Albert Uderzo

Música: Frédéric Talgorn

Fotografía: Thierry Arbogast

Reparto: Gérard Depardieu, Clovis Cornillac, Alain Delon, Elric Thomas, Jean-Pierre Cassel, Santiago Segura, Benoît Poelvoorde, Vanessa Hessler, José García, Zinedine Zidane

Productora: Coproducción Francia-Alemania-España-Italia-Bélgica; Pathé Renn Productions, La Petite Reine, TF1 Films Production, TriPictures, Sorolla Films, Constantin Film, uFilms, Novo RPI, Canal+, Canal+ España

Género: Adventure; Comedy; Family

TRAILER:

[page-a-pages]

Pas l'temps je lis (novembre-décembre 2022)

Pas l’temps je lis est la chronique que je tiens dans le supplément culture qui paraît chaque samedi dans le quotidien Le Temps. Ci-dessous vous trouverez la liste des livres présentés dans les chroniques. Elle permettra aux abonné.es du Temps de les retouver facilement, offrira des pistes aux lecteur.ices du blog et sera utile aux éditeurs.trices qui verront ainsi quels livres ont été retenus et auront une idée du ton de la chronique.

Retrouvez la chronique sur le site du Temps

23 décembre 2022

Dessus, dessous, devant, dedans, Fanny Pageaud, Les Grandes Personnes, 2022

Tourne, pense, regarde, Beau Gardner, Les Grandes Personnes, 2022

Pizza 4 saisons, Thomas Vinau, Anne Brouillard, Ed. Thierry Magnier, 2022

17 décembre 2022

Animaux humains, Rosie Haine, Albin Michel Jeunesse, 2022

Félixe et la maison qui marchait la nuit, Sophie Bédard, La Ville brûle, 2022

10 décembre 2022

Photo de famille, Chloé Millet, Delphine Jacquot, Les Fourmis rouges, 2022

Que fait-on quand il pleut?, Ralph Doumit, Julia Wauters, Hélium, 2022

3 décembre 2022

Le Festin de Noël, Nathalie Dargent, Magali Le Huche, Gallimard Jeunesse, 2022 (L'heure des histoires)

Le dernier mouton, Ulrich Hub, Jörg Mülhe, Gallimard Jeunesse, 2022 (Premiers romans)

Le pire Noël de ma vie, Victoria Kaario, Juliette Binet, Rouergue, 2022

26 novembre 2022

Le petit livre des grandes choses, Sophie Vissière, Hélium, 2022

Bravo, maman manchot!, Chris Haughton, Thierry Magnier, 2022

Un Océan d'amour, Pieter Gaudesaboos, Hélium, 2022

Björn: une vie bien remplie, Delphine Perret, Les Fourmis rouges, 2022

Le grand livre de ma planète, Raphaële Botte, Elisa Géhin, Thierry Magnier, 2022

De Cape et de mots, Flore Vesco, Kerascoët, Dargaud, 2022

19 novembre 2022

Trésors de collectionneurs, Lucie Brunellière, Albin Michel jeunesse, 2022

Pirates Bric-à-brac, ATAK, Thierry Magnier, 2022

12 novembre 2022

Ce Jour-là, Pierre-Emmanuel Lyet, Seuil jeunesse, 2022

T'es pas mort!, Catherine Pineur, Ecole des loisirs, 2022 (Pastel)

Où vont les doudous quand ils meurent?, Laurence Salaün, Gilles Rapaport, Seuil jeunesse, 2022

5 novembre 2022

Mais où est-elle?, Marie Mirgaine, Les Fourmis rouges, 2022

Tout se transforme, Tony Durand, Motus, 2022

[lairreparablefugadeltiempo]

La roue (Abel Gance, 1922)

[sesiondemadrugada]

La roue (Abel Gance, 1923).

[picturessnatcher]

La roue (Abel Gance, 1922)

[ulrichgebert]

Es gäbe, wird Jean Cocteau im Klappentext zitiert, ein Kino vor und nach Abel Gances La roue, wie es Malerei vor und nach Picasso gäbe. Nun hat sich doch einiges aus der Malerei vor Picasso besser gehalten, als die meisten Filme vor 1923, daß wir La roue in dieser Analogie heute ungefähr auf dem Stande steinzeilicher Höhlenmalerei einsortieren würden. Höhlenmalerei mit Eisenbahnen ist allerdings wieder interessant. Gleich als erstes gibt es ein spektakuläres Zugunglück und unser vom Schicksal gebeutelter Lokführer Sisif stielt ein verwaistes Mädchen als Schwesterchen für seinen mutterlosen Sohn. Sie wächst zu einer schönen Frau heran und das Leben im beschaulichen Gleisdreick mit lustiger Hausziege wird nicht einfacher, denn der Lokführer, den sie für ihren Vater hält, sein romantischer geigenbauender Sohn, der sie für seine Schwester hält und der ausbeuterische Kapitalist, dem Sisif dummerweise einmal erzählt hat, daß er sie gestohlen hat, verfallen ihr alle  rettungslos. Eifersucht, Erpressung, Wahnsinn, Trunksucht, Unglück, Heiligenbildchen, Weichenstörungen, Zeter und Mordrio, innovative Montagetechnik und Selbmordversuche per Zugentgleisung sind die Folge. Zur Strafe wird er auf eine langweilige Ausflugsbahn ohne Weichen am Montblanc versetzt, ob der schönen Aussicht erblindet er und sein Sohn fällt in einen Gletscher, aus dem er erst 27 Jahre später geborgen werden kann. Es ist alles ein bisschen viel. Wir gehen mal davon aus, das Cocteau eher die filmische Erzählweise als die Handlung meinte.

[startwithus]

La Roue (French Impressionism)

by Irra Bulalacao

La Roue (The Wheel) is a french silent film directed by Abel Gance. The key actors of this film are Severin Mars as Sisif, Ivy Close as Norma, Elie Gravone as Elie, the son of Sisif and Pierre Magnier as Mr. de Hersan. This film was released in 1923. The film is about a father (Sisif) who happened to fall in love with his adopted daughter, Norma. With that, Sisif is having some delusions maybe because he couldn’t accept the fact that he has fallen in love with his daughter. He also kept this secret to his son Elie because he is afraid that Elie and Norma would be angry at him if they find out the truth. Later, when Sisif could no longer handle his thoughts about Norma, he confessed to Mr. Hersan. Mr. Hersan also likes Norma so he used that confession as a blackmail against Sisif so that he could marry Norma.

Mr. Hersan’s ulterior motive of blackmailing Sisif worked out. Norma agreed on marrying Mr. Hersan since she felt that she’s a burden for his father. After they got married, Norma wrote a letter for her brother and father but then they didn’t respond in any of those letters that she sent. Norma is unhappy with Hersan and she only wants to be with her family again. I also felt terrible when Elie has feelings for her too. The moment Elie found out that Norma was not really his sister, he got angry with his father maybe because he felt that Norma needs to know the truth and also, he felt like he didn’t need to feel guilty at all for having feelings for her since they are not biologically related. The ending was too sad because Elie and Hersan fought each other because of Norma which resulted to the death of both. While Sisif lost his sight because of some accident while he is in the train. And since Sisif only has Norma in his life, although he got angry at her because of what she has caused to her brother and to her husband but still he managed to accept Norma again in his life. It is also a good thing that these circumstances that have happened to them made them realize the importance of their connection as a family and Sisif already manage to disregard his feelings towards to his adopted daughter, Norma.

To be honest, along the half of the film, I felt uneasy with the story since I’m really not into this kind of story. A father who fell in love with his daughter is something I don’t like to watch especially if I had the knowledge about its plot before watching it. At first, I thought it was just about a father who will help this child to have a life like a normal child with the love of parents, siblings, giving shelter etc. But I am surprised when there are small hints that Sisif likes his adopted daughter. The film is good especially on how the intertitles are effective in giving information about what is going in the scene. Among all the silent films that I’ve already watched, this film is the easiest to understand and it’s not boring as well. I got hooked with the sequence of the scenes since I was fooled by the first scenes because I thought it was just about a father who adopted a child and later on, takes care of her and treats her as a family. But this film is way more than just that.

The direction for me is really good since as a viewer, I was able to understand it by just watching each of the scenes. Also, with the help of intertitles, it made easier to understand fully each of the happenings in the scene. And the director was able to fool me about what the story is all about since for the first 40 minutes of the film, it is just about Sisif and his loving children, later, he just got irritated about anything. He started to drink alcohol all the time, always irritated and got involved in gambling as well. Which made me curious about his reasons of why he is acting like that. It has a slow pace when it comes to storytelling. The rising action was presented after first hour of the film. But then, it didn’t affect my understanding as a viewer of what the film is all about.

When it comes to its casts, they were all able to portray the characters. I also like on how Severin Mars (Sisif) portrayed the father figure especially on the latter part of the film wherein he tried to disregard his feelings towards Norma for so many times because there is still the feeling of being a father towards her that’s been changing his mind all the time whenever his thoughts of falling in love with her comes in. Although I felt uneasy about his character because he fell in love with his daughter but then, on how he manages to disregard those feelings were able to change my perspective to his character. I think also that it’s a good thing that there are only few casts in this film because it made it easier to understand especially because it is a silent film and it is very hard to know each of the characters because you can’t hear them talk or say anything.

The musical scoring did not affect my experience in watching this film. It’s not too loud and it’s not too quiet as well. Everything is in control especially in some of the scenes wherein there is a dominating mood like despair, anger etc. The musical scoring did not overpower the scenes. And that’s what I like about this film because it didn’t make me to focus on the music so much but rather on what’s happening in each of the scenes.

When it comes to its cinematography, French has their own way of using camera angles in visual storytelling. It’s very evident all throughout the film. I do not know what to call it but they are using the circle type of a frame, with this, the circle is just focusing on a particular person. To my observation, they are just only using this especially if the character is showing extreme emotions because in the film, they shift into normal framing to circle framing. And most of the time, the circle framing is used to the character which shows an extreme emotion. I am not sure if it’s the same with some shots in Mr. Bean. But every time I see this type of framing in the film, it gives me a nostalgic feeling of some episodes in Mr. Bean. They are really breaking the rules of Hollywood because there is this scene wherein there’s a cloth or something that is covering the camera and then it slowly moves away from the lens to show the scene. You could really see that it not in the editing but the cameraman or the director meant that transition or camera shot to be like that. There are also scenes especially in the first part wherein Sisif is looking at the camera as if he is showing the viewers his reactions. But even though it was against to what is usual to us, it did not affect my experience in watching this film.

In conclusion, every element of a film really worked out in La Roue. To be honest, I found it very easy to understand. The mise-en-scene of this film made me in touch with story. Although when it comes to cinematography, they are breaking the rules of the Hollywood, but then it didn’t make me feel that this film is not worthy to watch just because it’s not the usual visual storytelling that I used to. It made me realize that there is something more outside the Hollywood setup is offering. You just need to explore and be open with new presented ideas about filmmaking and how it works.

[vm4vm0]

LOVING from Thibaut Buccellato on Vimeo.

Loving

An ode to love.

thibautbuccellato.fr - instagram.com/thibuch

Written, Directed & Produced by Thibaut Buccellato Cinematography by Erik Henriksson

Starring : Kolia Abiteboul, Harper Andria, Zac Andria, Ophélie Bau, Fehdi Bendjima, Lola Bessis, Anouchka Bettendorf, Fred Boa, Esteban Boavida, Clémence Boisnard, Mazigh Bouaich, Camélia Bourbon, Andréa Boutin, Lucas Bravo, David Chausse, Maria Clara Daros, Jade Cve, Inès D’assomption, Pierre Deladonchamps, Jérémie Dethelot, Cyril Durel, Christine Gautier, Guang Huo, Emma Jaubert, Maud Le Fort, Déborah Lukumuena, Lou Luttiau, Honorine Magnier, Maeva Marshall, Luis Mesquita, Saber Nacer, Nicolas Neuhoff, Georgia Polkinghorne, Agathe Rousselle, Claire Tran, Kevin Vasic, Pauline Vernet, Alexandre Wetter, Michele Wielgo Polanin, Bernard Wielgo Polanin, Fabian Wolfrom

Music : Je te laisserai des mots Written, composed and performed by Patrick Watson Courtesy of Secret City Records Inc.

Editor : Zoé Sassier Colorist : Sofie Friis Borup Sound mixer : Alexandre Poirier Production manager : Ulysse Ancele 1st Assistant director : Gabrielle Giraud 2nd Assistant director : Kelly Reynol 1st Assistant camera : Raphael Aprikian 2nd Assistant camera : Matthieu Abily Gaffer : Félicien Forest Best boy electrician : Alexandre Denis Set designer : Julie Jarrige Costume Supervisor : Alexandra Nicolaïdis Runner : Bastian Barraja Shot on : Kodak Film 35mm Developping by : Focus Film Camera provided by : RVZ Special thanks : Patrick Watson • Paul Rocha (Secret City Records) • Hugo Diaz (Henry) • Wladimir Baseden (Lux Artists Ltd.) • Samuel Renollet (RVZ) • Nina Boriri (Focus Film) • Alexandra Lubrano (Company 3) • Erik Henriksson • Sofie Borup • Brigitte Zaccaria • Bruno Camhaji • Charlotte Ravinet • Anais Brieuc • Pierre Bousquet • Eugenie Marcland • Louise Carrasco • Kiefer Wiessler • Nathalie Catanzano • Yohann Bitton • Ulysse Ancele • Sebastien Gros • Alexandre Poirier • Baptiste Marteau • Maxwell Hadson

© Thibaut Buccellato - 2021

[byneddiedingo]

Ivy Close and Séverin-Mars in La Roue (Abel Gance, 1923)

Cast: Séverin-Mars, Ivy Close, Gabriel de Gravone, Pierre Magnier, Georges Térof, Gil Clary, Max Maxudian. Screenplay: Abel Gance. Cinematography: Gaston Brun, Mac Bujard, Léonce-Henri Burel, Maurice Duverger. Art direction: Robert Boudrioz. Film editing: Marguerite Beaujé, Abel Gance. Music: Arthur Honegger.

The plot is operatic, the technique is novelistic, and the aim is tragic. Abel Gance's La Roue (aka The Wheel) never satisfies on any of those counts, but it's not without a lot of effort on his part as well as his actors and technicians. At its premiere, it ran for somewhere between seven-and-a-half and nine hours (depending on which source you trust), spread over three days, and was a success, earning praise from Jean Cocteau among others. Gance then produced a cut that ran for two and a half hours, which was the version most people saw for many years until film historians set about to reproduce the original. That restoration is the one I sat through for sevenish hours spread over four nights on the Criterion Channel. I have seen seven-hour movies (and some that seemed like it) before, most notably Bela Tarr's Sátántangó (1994). The urge I usually have afterward is to try to justify the expenditure of time, typically by categorizing it as an "immersive experience." That approach works with films like Tarr's, which has a grounded reality to it that provides a look into a human existence other than my own, which is the aim of all narrative art. It's less easily justified when the film is as preposterous as Gance's is in many ways. I said it was operatic in its plotting, and here it's useful to think of the melodramatic excesses of works like Verdi's Il Trovatore, based on a florid Spanish play that involves foundlings, mistaken identities, and people torn between passion and duty. La Roue has a foundling, survivor of a train wreck, rescued by a railroad engineer who raises her along with his own son, allowing both of them to believe they are siblings, which works until she blossoms into a young woman and first the father and then the son realize they're in love with her. The treatment of this story evokes, as others have noted, the novels of Victor Hugo and Émile Zola, but it also reminds me of Thomas Hardy's works, in which fate (which Hardy calls "hap," or the blind workings of chance) forestalls any efforts by the protagonists to chart their own course. And since the story involves a kind of incestuous passion, the legend of Oedipus comes to mind, and sure enough Gance quotes Sophocles in one of the intertitles. But of course it's a movie, and that necessitates a good deal of spectacle, starting with the train wreck that sets the plot in motion. La Roue is never dull, and it's sometimes emotionally affecting, but it's not an opera (although Arthur Honegger's score suggests its potential in that regard) and it's not a novel or a tragedy. It's a movie, and one with a great deal to watch if you're willing to commit seven hours to it, but I think you have to be devoted to learning about the craft of movie-making to profit much from it.   

[elcinelateleymickyandonie]

Robert Lamoureux.

Filmografía

Teatro

Autor

1957 : La Brune que voilà

1959 : Un rossignol chantait

1967 : Frédéric

1970 : Échec et meurtre

1971 : La sopera

1974 : Le Charlatan

1980 : Diable d'homme

1986 : Le Tombeur

1987 : La Taupe

1989 : Adélaïde 90

1993 : L'Amour foot

1996 : Si je peux me permettre.

Actor

1951 : Ombre chère, de Jacques Deval, escenografía del autor, Théâtre Édouard VII

1954 : La Manière forte, de Jacques Deval, escenografía del autor, Théâtre de l'Athénée

1958 : La Brune que voilà, de Robert Lamoureux, escenografía del autor, Théâtre des Variétés

1959 : La Brune que voilà, de Robert Lamoureux, escenografía del autor, Théâtre des Célestins

1959 : Un rossignol chantait, de Robert Lamoureux, escenografía de Jean Marais, Théâtre des Variétés

1962 : Turlututu, de Marcel Achard, escenografía de Jean Meyer, Théâtre Antoine

1964 : Jo, de Claude Magnier, escenografía de Jean-Pierre Grenier, Théâtre des Nouveautés

1967 : Faisons un rêve, de Sacha Guitry, escenografía de Robert Lamoureux, Théâtre des Célestins

1967 : Frédéric, de Robert Lamoureux, escenografía de Pierre Mondy, Théâtre Edouard VII y giras Herbert-Karsenty en 1968-1969

1968 : Désiré, de Sacha Guitry, escenografía de Pierre Dux, Théâtre du Gymnase Marie-Bell y Théâtre du Palais-Royal

1969 : Domino, de Marcel Achard, escenografía de Pierre Mondy, Théâtre des Variétés

1969 : Frédéric, de Robert Lamoureux, escenografía de Pierre Mondy, Espace Cardin

1969 : Échec et meurtre, de Robert Lamoureux, escenografía de Jean Piat, Espace Cardin y giras Herbert-Karsenty en 1970-1971

1971 : La sopera, de Robert Lamoureux, escenografía de Robert Lamoureux y Francis Joffo, Théâtre Édouard VII y giras Herbert-Karsenty en 1972-1973

1974 : Le Charlatan, de Robert Lamoureux, escenografía de Francis Joffo, Théâtre des Bouffes-Parisiens

1976 : Knock ou le Triomphe de la médecine, de Jules Romains, escenografía de Jean Meyer, Théâtre des Célestins y giras Herbert-Karsenty en 1975-1976

1980 : Le Charlatan, de Robert Lamoureux, escenografía de Francis Joffo, Théâtre des Célestins y giras Herbert-Karsenty en 1979-1980

1980 : Diable d'homme, de Robert Lamoureux, escenografía de Daniel Ceccaldi, Théâtre des Bouffes-Parisiens.

1984 : Le Dindon, de Georges Feydeau, escenografía de Jean Meyer, Théâtre du Palais-Royal

1985 : La Prise de Berg-Op-Zoom, de Sacha Guitry, escenografía de Jean Meyer, Théâtre des Célestins

1986 : La Prise de Berg-Op-Zoom, de Sacha Guitry, escenografía de Jean Meyer, Théâtre des Nouveautés y Théâtre de la Michodière

1986 : Le Tombeur, de Robert Lamoureux, escenografía de Jean-Luc Moreau, Théâtre des Variétés

1987 : La Taupe, de Robert Lamoureux, escenografía de Francis Joffo, Théâtre Antoine y giras Herbert-Karsenty en 1986-1987

1989 : Adélaïde 90, de Robert Lamoureux, escenografía de Francis Joffo, Théâtre Antoine y giras Herbert-Karsenty en 1989-1990

1992 : L'Amour foot, de Robert Lamoureux, escenografía de Francis Joffo, Théâtre Antoine y giras Herbert-Karsenty en 1991-1992

1996 : Si je peux me permettre, de Robert Lamoureux, escenografía de Francis Joffo, Théâtre des Nouveautés

1999 : Si je peux me permettre, de Robert Lamoureux, escenografía de Francis Joffo, Théâtre Saint-Georges

2002 : Le Charlatan, de Robert Lamoureux, escenografía de Francis Joffo, Théâtre du Palais-Royal.

Cine

Director

1960 : Ravissante

1960 : La Brune que voilà

1973 : Mais où est donc passée la septième compagnie ?

1974 : Impossible... pas français

1975 : On a retrouvé la septième compagnie

1975 : Opération Lady Marlène

1977 : La Septième Compagnie au clair de lune.

Actor

1951 : Le Roi des camelots´, de André Berthomieu

1951 : Le Don d'Adèle, de Émile Couzinet

1951 : Au fil des ondes, de Pierre Gautherin

1951 : Chacun son tour, de André Berthomieu

1952 : Allô... je t'aime d'André Berthomieu : Pierre Palette

1953 : Lettre ouverte, de Alex Joffé

1953 : L'incantevole nemica, de Claudio Gora

1953 : Virgile, de Carlo Rim

1954 : Escalier de service, de Carlo Rim

1954 : Papa, maman, la bonne et moi, de Jean-Paul Le Chanois

1955 : Village magique, de Jean-Paul Le Chanois

1955 : Si Paris nous était conté, de Sacha Guitry

1956 : Papa, maman, ma femme et moi, de Jean-Paul Le Chanois

1956 : Rencontre à Paris, de Georges Lampin

1956 : Une fée… pas comme les autres, de Jean Tourane

1957 : L'amour est en jeu, de Marc Allégret

1957 : Les Aventures d'Arsène Lupin.

1958 : La Vie à deux, de Clément Duhour

1959 : Signé Arsène Lupin, de Yves Robert

1960 : La Française et l'Amour: La Femme seule, de Jean-Paul Le Chanois

1960 : Ravissante, de Robert Lamoureux

1960 : La Brune que voilà, de Robert Lamoureux

1973 : Mais où est donc passée la septième compagnie ?, de Robert Lamoureux

1974 : Impossible... pas français, de Robert Lamoureux

1975 : On a retrouvé la septième compagnie, de Robert Lamoureux

1975 : Opération Lady Marlène, de Robert Lamoureux

1977 : L'Apprenti salaud, de Michel Deville

1991 : Le Jour des rois, de Marie-Claude Treilhou.

Televisión

1970-1971 : Au théâtre ce soir

1975 : Ne coupez pas mes arbres

1981 : Le charlatan

1983 : Emmenez-moi au théâtre: La soupière

1984 : Diable d'homme!

1986 : Maguy

1986 : Le dindon

1989 : La taupe

1992 y 1994 : La guerre des privés

1994 : L'amour foot.

Poemas, monólogos, canciones

- CD « Papa, maman, la bonne et moi : Robert lamoureux », Believe / Rym -Musique, 2000, 19 títulos:

- De quoi donc tu causes ? (canción)

- Papa, Maman, la bonne et moi (canción; letra y música de Robert Lamoureux)

- La plupart du temps

- Souris à la vie (canción)

- Le dernier de la classe

- Viens à la maison (canción)

- Qu'est-ce que tu crois ? (canción)

- Éloge de la fatigue

- La chasse au canard

- Banlieue (canción)

- Liberté Java (canción)

- Histoire de roses (canción; letra y música de Robert Lamoureux) — otros intérpretes: Patachou (1950), Renée Lamy, Lucette Raillat

- Éloge de mon prénom

- Lettre à Dédé

- J'aurais aimé savoir chanter (canción)

- Saint-Mandé

- Voyage en Italie

- Enfantillage

- Passé simple

- Álbum « J'ai un moral à tout casser »:

- J'ai un moral à tout casser

- Viens pas trop tard

- La voiture d'occasion

- Le printemps

- Métro (canción; letra de Robert Lamoureux — música de Henri Bourtayre) — otro intérprete : Yves Montand

- Fanfan la Tulipe

- Foire du Trône (canción; letra de Robert - Lamoureux — música de René Delauney)

- Le déménagement

- Laissez-les s'envoler — Geneviève Guitry

- Cinq à sept — Harry Séguéla

- Le trac

- Álbum « […] » :

- Hold-up

- Retour de vacances

- Le tour de France / La chasse à cour.

Premios

1950 : Premio de la Académie Charles-Cros por Papa, maman, la bonne et moi

2000 : Oficial de la Legión de Honor​

2009 : Medalla Grand Vermeil, de la Ciudad de París.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Robert_Lamoureux

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La roue (Abel Gance, 1923).

[celinemaltere]

C'est la nouvelle lune, le jour de sa mort et de sa naissance. Notre fanzine libre et gratuit paraît. Nous avons regroupé pour vous le travail de nombreux artistes autour de cette charnière mort-naissance qui fait la continuité de la vie. Mort, certes. Mais terreau pour la vie. Il se trouve que j'ai perdu quelqu'un en préparant ce numéro. Ce dernier est donc dédié à Pierre, qui vogue désormais sur les sentiers de la Destination Inconnue. Un grand merci à tous les artistes qui y ont contribué : Le Champ clos, Harry Clarcke, Valfretin, Helios Trivium, Marie-Hélène Gauthier, Nils Bertho, Hévélius, Paul Poule - Keny ozier, Jean Kiboi, Clovis Trouille, Philippe Marie-José Magnier-Gobert, Christophe Guillouet, Chloé Schuiten, Marine Debilly Cerisier, Dee Dee Vingt DeMille, Sally Mara, Rabi Wakid, Emilie M'gabo, Marine Aïello, La Machine, Claire Morel, Ness, Céline Maltère, Audrey faury, Sevastiani Bogiatzoglou, Gérard Lebègue, Sandy Ott, Jean de la Fontaine, Domenica di Donato, Vadriano Xavitchov. Vous pouvez le lire tout de suite en suivant le lien et télécharger le pdf pour impression dans les jours qui viennent depuis notre site www.hildegarde.iva.la

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2020 Prix Du Jockey Club Preview

Change. It comes with many guises. Good, bad, forced and sometimes in coin form too. We can all recount a story for each with the ease of listing your families names or horses that have carried that coin form to victory. With any positive change we must regretfully suffer the other pole of the spectrum; bad or forced. The latter is where we have stood for over 100 days now and the grand fête of Prix De Diane & Jockey Club day in a sun-kissed Chantilly will lack its colour, its glamour, its congregation but perhaps the most important. Its joie de vivre.

Fear not, as we endure this seemingly never ending campaign of terror upon the world, a change for good will come again. We will trade the facemasks for smiles, the waves replaced by hugs and the empty stands for the grand fêtes that have been confiscated. For now.  

One thing that will forcibly change is the Prix Du Jockey Club winner. Sottsass bore the crown for a year and a new King must be crowned on Sunday. Let’s change the mood and get stuck into the runners eh.

 VICTOR LUDORUM

As children we are told of fairytales. Dopey we may be at that young age we delighted in hearing of the stories in which you can swap a cow for magic beans or change your life for the better and be given a golden goose. Fairytales were then cast onto the big screen by Walt Disney. Crowds would flock to see them and leave not Grumpy or Bashful but Happy. The great animator himself would struggle to believe the fairytale that lies ahead of Victor Ludorum.

The royal blue of Godolphin has been carried only once to victory in this most historic of races. Frankie Dettori and Shamardal formed a fierce alliance in 2005, winning 6 of their 7 races together including 4 at the grandest of tables; Group 1s. A partnership as strong as that of the Brothers Grimm one may say. Twleve years later in 2017 the late champion sired Victor Ludorum. Following in his fathers footsteps, Victor has lost just one of his 5 career races to date and formed a fierce alliance with Mickael Barzalona. The myth of him not training on and floundering at 3 as his siblings have done was firmly Snow White’d in the Poulains. Cruising past the 1000, 1100, 1200, 1300 and finally the 1400m pole he revved up and bound clear in the final 100m. Eight up for his princely trainer and the premier victory for his ally Mickael. Yet to race over 1600m+ we venture into the dark forest with the Jockey Club throne as our guiding light but what a story it would make.

If dreams do come true and fairytales become reality, the Brothers could not invent one any better than this. We will never know if Sheikh Mohammed himself is a fairytale follower but should his homebred heir return the riches of Chantilly to the Dubai ruler 15 years on from his maiden, well it would just be happily ever after.

OCEAN ATLANTIQUE

The dynasty of Coolmore has no equal. Their ability to breed talent, spot talent, cultivate talent and most importantly showcase talent is unrivalled. Their changes for good in the Racing world are based exactly where they should be, on four legs on the biggest and most grand pistes in the world. They’ve had them all from homebred staying superpower Yeats to champion of champions Galileo, wondermares such as Found and the eagle eager eye of MV Magnier and his family have spotted talent from speedball Choisir to the history making American Pharoah.

It is the latter we look to with Ocean Atlantique, now even Coolmore will admit they didnt get much coin form change out of their €1,100,000 purchase but he could change their future immeasureably. Iron runs through the veins of the 3yo thanks to his dam’s sire Giant’s Causeway. A big strapping sort himself he has a way to go to emulate the palmares of his grandfather but he is sailing the right seas. 

A record the “lads” will be happy to change for the better is of theirs in the French Derby. The famous tangerine Tabor silks have once been victorious with Montjeu but those of the Magnier family are yet to taste the celebratory Chantilly cuvee. 

It took until a summery Saint Cloud september afternoon for Andre Fabre to unleash Ocean Atlantique and a second on debut is hardly to be scoffed at. Wrongs were changed to rights in an 8L demolition next time up and the maiden tag shed. The winter came and went as did the early spring. The gates of ParisLongchamp flung open on May 11th (for horses anyway..) and three days later Ocean Atlantique was back in business in the G3 La Force. Caught on the rail and in the pathway of a reversing Another Sky, second would have to do again behind Pao Alto. Wrongs righted once again  on his next run in the Listed de Suresnes this time by a mere 5L demolition.

At home over 10f as was his father and grandfather, can Ocean Atlantique navigate his way to the Winners Enclosure at Chantilly and change his and Coolmore’s history for the better?

PAO ALTO

Change is frequent in Palo Alto. The place, not the horse whose name shares such resemblence. It is a true centre of excellence. Without this small corner of San Francisco we would not have life-changing spies companies such as (breathe): Google, Facebook, Apple, Paypal, HP, Dell, Xerox, Skype and Tesla. The final enterprise on that list is perhaps the most exciting, most forward thinking and most ludicrous. One fact remains however, horsepower is the name of the game for Tesla, the brainchild of lunatic maverick Elon Musk. Their desire to prove they are the best whilst maintaing all the style, glamour and substance is endering and these qualities are retained in the Christophe Ferland trained Pao Alto.

Pao Alto is visually one of the most beautiful chestnut colts you could possibly see with a flash of milky white on his left fore and an emblem-esque diamond between his eyes. Style. Owned by the uber elegant Wertheimer et frere he carries the famous sky blue and white silks that have bibles of Group wins to their name. Glamour. Beaten only once on his debut he has conquered a mile and graduated to ten furlongs too picking up the Group 3 La Force on the way. Substance. 

He like the two before has champion blood racing through his veins. The son of 2013 winner Intello, he would take Gerard et Alain to two wins in the Jockey Club putting them ahead of their illustrious father Jacques and the patriarch of it all (their grandfather) Pierre. Pao is not a homebred as many of the brorthers horses are but heck, they cannot get much closer than having a son of their first Derby winner.

The La Force was a real triumph. The metal broke from the latch and he was out and away, relaxed for the first 400. Showing fine balance on the long downhill sweeping of ParisLongchamp he turned into the false straight tracking the rear end of Ocean Atlantique. A jolt of this head to the left told Guyon which way he wanted to go and when the air cleared he took off. One swipe of the foam was enough and a few bumps from Max saw him home comfortably ahead.

He will get to see, like Tesla, if he can be the best this Sunday where it matters most. On the turf at Chantilly.

MISHRIFF

What were we saying before about fairytales? Believe in something and you can achieve it. Make Believe in something and anything is possible! A fourth entrant into the race with champion blood in his veins, Mishriff is the son of the 2015 Poulains winner and the pride and joy of Prince Faisal Al Saud. It would also provide a fairytale culmination for his trainer John Gosden. The master of Clarehaven has triumphed in almost all the Classics you could name. The (Epsom) Derby? Got two. The (Epsom) Oaks? Three of those. Irish Derby? Yep, tick. Irish Oaks? Of course, next. Hollywood Derby? Hell yes. Prix De Diane? Oui. Prix Du Jockey Club? Ah, erm...

The elsuive Prix Du Jockey Club remains the outstanding empty square in his sticker book of Classics. It has been lean pickings for the master trainer since 2000 with 4th being his highest placed finisher too.

In the five races in Mishriff’s career he has filled all the places, 4th on debut before 3rd next time up. Skipping a place to win by as far as he wanted at Nottingham to end his season he returned with a 2nd in the Saudi Derby. His UK reappearance was a romp on the Rowley Mile. Posted on the flank by David Egan he had tremendous balance in the dip and despite having the whole of Newmarket to his right he kept his head down and his line almost straight to win by 4L. The form of his Newmarket Stakes win has twice been franked by Volkan Star and Al Aasy so tick that box as well.

What were we saying before about change?  It would be for the ultimate good should John Harry Martin Gosden complete his sticker book of Classics.

THE OTHERS

Port Guillaume - Jean Claude Rouget has been the man for the big occasion in this race winning three of the last five. His 2020 entrant whilst having a record of straight 1′s has to make the almighty leap from Class 1 to Group 1. A prominent front runner he will be the horse to watch and the gauge by which we measure the ferocity of the race. Not ruled out but it is a thankless task making the running in a race like this and questions remain over his quality at the level.

Ecrivain - The final orders bell is ringing in the Ecrivain Arms. A real talking horse coming into the season he finished 2nd in the Fontainebleau ahead of Victor Ludorum but was firmly put to the back of the class in the Poulains. Excuses have been graciously allowed given the virus rampaging around the Laffon Parias yard at the time but now its time to put up or shut up. Unfortunately the latter seems the more likely option.

Hurricane Dream - Those fairytales get everywhere! Jumps trainer Mickael Mescam would send shockwaves around the world should his colt be victorious. Team Valor were quick to swoop in after his win in the provinces and their judgement was justified as he swept aside a talented field over course and distance last time. Another making the leap from Class 1 to Group 1 he may have the class to challenge for places in this race and more should a few underperform.

The Summit - A real surprise package at 3 he has outperformed expectations time after time after time. His win in the Fontainebleau upcycled to 2nd in the Poulains and with a new set of emperors silks this could be his swansong in France. Alex Pantall has worked wonders with him and with Peslier in the plate anything is possible.

San Fabrizio - If you watch his last race you’ll be bamboozled as to the run he gets. Or well doesn’t get! PCB appeared to have boatfuls left in his hands but with nowhere to go he simply had to ride out at no more than a trot. He was behind Pao Alto on debut but that was a long time ago now. Soumi rides so he gets a boost but coming off the pace at Chantilly in the Jockey Club and having to be 4 or 5 wide? Tough ask.

VERDICT

First of all, expect a messy race. This event is rarely without a gripe from at least one participant and with only a thin strip of perfect ground at Chantilly everyone wants a piece that they cannot have. Second of all, stay away from the rail unless you are clear in front. It cannot be emphasised enough how important it is to treat that rail like an enemy if you are trying to come off the pace.

Victor Ludorum was mine and many many others guy for the Poulains and he will retain that with those many many others but not me. His win at Deauville was sensational but there was mitigating factors that day. His proximity to the rail from the start and the open runway he had to stroll down thanks to Alson being the main two. Fabre cannot hide his affection for this horse but is he better over the mile? We’ll see. Stall #1 isnt exactly super for him being a hold up horse, he could get a whack early on as they break and that may trap him in the group as they fall towards the rail. Pao Alto was superb when winning the La Force under Guyon. The doubt creeps into the mind about the state of the Fabre string during the opening period however. Did he catch his opponents on an off day? Maybe. Did he capitalise? Certainly. He appears to have the substance for the trip but will he be able to keep up now the pack have caught up too? Maybe not. He has not raced since that day and that too could be a concern. Stall #9 for him and that is about where you’d want to be.  OCEAN ATLANTIQUE will have the perfect man on board for this race. PCB is imperious around the undulations of Chantilly. He will devour the distance and he is more than quick enough to win despite posting a slow time LTO but he did win by 5L. The tactics employed in the Suresnes could work wonders given his pace and his jockeys ability to dictate a race but he is likely to have company upfront with Port Guillaume and The Summit in there too. The undoubted ability at staying the trip is hugely beneficial to him and will count hugely later on as they climb up the straight but it must be said that the red diamond on PC’s helmet could work as a real target. He was given a raw deal in stall #14 but the long run to the bend at Chantilly will give PC time to look at the pack and pick his best hand to play on a versatile horse. It would be a story told for years if Hurricane Dream could win for Mescam & Team Valor and he has a chance to finish in the top 4 without doubt. Eyquem has been given the steering wheel and stall #11 is prime real estate also.

In my opinion, the seas of change will blow the way of Ocean Atlantique and Coolmore team itheir first Prix Du Jockey Club in the colours of the Boss.