Showing posts with label French Riviera. Show all posts
Showing posts with label French Riviera. Show all posts
Thursday, July 14, 2016
Friday, January 9, 2015
Just watched...
...a classic of world cinema, THE FANNY TRILOGY by Marcel Pagnol.
I always enjoy the holidays because it affords time off from my usually busy life to catch up on the ever-growing Netflix queue and to indulge in the avalanche of films and programs we have waiting for us on our DVR. And this season, I got to see a lot of interesting and special films.
For years I have been eating at the world famous restaurant Chez Panisse, ground zero for the food revolution, in Berkeley, California, and had not seen the films which feature the character who is the restaurant's namesake, Monsieur Panisse. And now I have.
Starting with the first installment, "Marius" made in 1931, we see love blossom between Marius, the young son of a barkeep, and Fanny, the young daughter of a fish monger in the picturesque city of Marseille on the French Riviera. But the union is not meant to be as Marius longs for a life on the sea. After a single night of passion (once is all it takes), Marius runs away on a ship headed out for a five-year journey without knowing his girlfriend was pregnant.
The second film made in 1932 is entitled "Fanny" and follows the birth of her child by Marius and her marriage to the sail maker Panisse, who knows and understands the love affair between Marius and Fanny, but loves her and more importantly, loves the child as his own.
And the third film, made in 1936 is "Cesar" named for Marius' father who has been a rock for Fanny throughout her life, and has been "god-father" to the boy who is in reality his grandson.
The story was based on Marcel Pagnol's 1926 stage play "Marius" and for the most part the trilogy feels, in a good way, like watching a play: the structure feels somehow very modern with a story cleverly spanning the length of three separate films. The films were made at an interesting time in acting and cinema history though: the performances walk the line between the kind of grand-gesturing, overacting that was the hallmark of silent and early sound films, with a more modern approach to portraying a character with more realism and subtlety. Pierre Fresnay as Marius walks that line and straddles the styles as does Orane Demazis as Fanny. Yet I feel for them, despite their often stylized approach to their roles. But for me, the one who stands out as not only an excellent and tireless comedian but also someone who was able to still himself and feel his character was the marvelous Raimu (the stage name of actor Jules Auguste Muraire) as Marius' hilariously excitable but sentimental father Cesar. Whenever he was on screen, I found myself totally engaged, either with laughter or with a feeling of heavy emotion. The three films taken together are actually a lovely arc for Raimu who did a splendid job.
Recommend? If you are interested in cinema history or just like a classic love story, watch these films. The newest Kino version is restored with clear subtitles.
I always enjoy the holidays because it affords time off from my usually busy life to catch up on the ever-growing Netflix queue and to indulge in the avalanche of films and programs we have waiting for us on our DVR. And this season, I got to see a lot of interesting and special films.
For years I have been eating at the world famous restaurant Chez Panisse, ground zero for the food revolution, in Berkeley, California, and had not seen the films which feature the character who is the restaurant's namesake, Monsieur Panisse. And now I have.
Starting with the first installment, "Marius" made in 1931, we see love blossom between Marius, the young son of a barkeep, and Fanny, the young daughter of a fish monger in the picturesque city of Marseille on the French Riviera. But the union is not meant to be as Marius longs for a life on the sea. After a single night of passion (once is all it takes), Marius runs away on a ship headed out for a five-year journey without knowing his girlfriend was pregnant.
The second film made in 1932 is entitled "Fanny" and follows the birth of her child by Marius and her marriage to the sail maker Panisse, who knows and understands the love affair between Marius and Fanny, but loves her and more importantly, loves the child as his own.
And the third film, made in 1936 is "Cesar" named for Marius' father who has been a rock for Fanny throughout her life, and has been "god-father" to the boy who is in reality his grandson.
The story was based on Marcel Pagnol's 1926 stage play "Marius" and for the most part the trilogy feels, in a good way, like watching a play: the structure feels somehow very modern with a story cleverly spanning the length of three separate films. The films were made at an interesting time in acting and cinema history though: the performances walk the line between the kind of grand-gesturing, overacting that was the hallmark of silent and early sound films, with a more modern approach to portraying a character with more realism and subtlety. Pierre Fresnay as Marius walks that line and straddles the styles as does Orane Demazis as Fanny. Yet I feel for them, despite their often stylized approach to their roles. But for me, the one who stands out as not only an excellent and tireless comedian but also someone who was able to still himself and feel his character was the marvelous Raimu (the stage name of actor Jules Auguste Muraire) as Marius' hilariously excitable but sentimental father Cesar. Whenever he was on screen, I found myself totally engaged, either with laughter or with a feeling of heavy emotion. The three films taken together are actually a lovely arc for Raimu who did a splendid job.
Recommend? If you are interested in cinema history or just like a classic love story, watch these films. The newest Kino version is restored with clear subtitles.
Friday, August 1, 2014
Provence and The Côte d'Azur, 2014
I am back from my visit to Provence (for the lavender harvest) and the Riviera (for the fun of it). I had a fantastic time and love this part of France the more I explore it.
I extend huge thank yous to all the people who opened their homes, businesses, and hearts and minds to us and for making our time there so special. Mille mercis to our friend Pierre Bertou for his kindness and thoughtfulness, the Wilsons at the mas, Helen for her delicious contributions, Patisserie Jouvaud for adding to our experience, David Sabon for his hospitality, Chef Christophe Bonzi for his good humour and good food, and Chef Eric Sapet for a lovely meal in his exquisite garden. Extra special big thank yous to Pascale Palun for her vision, art, and kindness and Bruno Ré for his generosity. And finally, I can't thank enough the phenomenal, masterful Sherry Page for her knowledge, enthusiasm, grace, and all-around beautiful soul. Mille mercis encore!
I extend huge thank yous to all the people who opened their homes, businesses, and hearts and minds to us and for making our time there so special. Mille mercis to our friend Pierre Bertou for his kindness and thoughtfulness, the Wilsons at the mas, Helen for her delicious contributions, Patisserie Jouvaud for adding to our experience, David Sabon for his hospitality, Chef Christophe Bonzi for his good humour and good food, and Chef Eric Sapet for a lovely meal in his exquisite garden. Extra special big thank yous to Pascale Palun for her vision, art, and kindness and Bruno Ré for his generosity. And finally, I can't thank enough the phenomenal, masterful Sherry Page for her knowledge, enthusiasm, grace, and all-around beautiful soul. Mille mercis encore!
Jean Cocteau in Villefranche-sur-Mer
I am a huge fan of the work of Jean Cocteau and I was thrilled to be able to visit his exquisite Chapelle Saint-Pierre in the lovely village of Villefranche-sur-Mer, a vertical village located on the French Riviera.
Cocteau first came to Villefranche-sur-Mer in 1925 and spent a prolonged visit at the Hotel Welcome in order to kick his opium addiction. Across the street from the Welcome was a tiny little chapel, right on the bay, dating from the late 1500s. By the time Cocteau encountered it, it was a storage room for fishermen's nets because of its convenient location right next to the boats. He fell in love with Villefranche and lobbied the local government for permission to transform the chapel-cum-storage room back into a chapel. He gained permission in 1957 and set about painting the façade of the building and creating magical murals on the inside.
Since photography inside the chapel is forbidden, here are a few scans of some of the post cards on sale inside. The breathtaking murals which cover every surface inside the chapel depict scenes from the life of St. Peter (Pierre), patron saint of fishermen.
To the left of the chapel (if you are standing facing it) is a plinth with a bust of Cocteau sculpted by Cyril de La Patellière, and a plaque with Cocteau's words, "Quand je regarde Villefranche, je voir ma jeunesse, fassent les hommes qu’elle ne change jamais" ("When I see Villefranche, I see my youth. May men make sure it never changes.")
And up the stairs from the docks toward the old village is rue Obscure, or "the hidden road" which is a Medieval passage once part of the original rampart of the walls that protected Villefranche. It was an open parapet until it was enclosed and built over by buildings during the next hundred years or so. It served as a mysterious location for scenes in Cocteau's last film, "The Testament of Orpheus." As part of an Artist's Walk, there is a ground plaque of a piece of art by Cocteau showing the rue Obscure with the words from his memorial by the St. Pierre Chapelle.
Cocteau's influence is still felt in Villefranche: floating among the boats next to the St. Pierre Chapelle, I noticed a vessel named for one of Cocteau's greatest films, "Orphée," in Cocteau's handwriting!
Cocteau first came to Villefranche-sur-Mer in 1925 and spent a prolonged visit at the Hotel Welcome in order to kick his opium addiction. Across the street from the Welcome was a tiny little chapel, right on the bay, dating from the late 1500s. By the time Cocteau encountered it, it was a storage room for fishermen's nets because of its convenient location right next to the boats. He fell in love with Villefranche and lobbied the local government for permission to transform the chapel-cum-storage room back into a chapel. He gained permission in 1957 and set about painting the façade of the building and creating magical murals on the inside.
Since photography inside the chapel is forbidden, here are a few scans of some of the post cards on sale inside. The breathtaking murals which cover every surface inside the chapel depict scenes from the life of St. Peter (Pierre), patron saint of fishermen.
To the left of the chapel (if you are standing facing it) is a plinth with a bust of Cocteau sculpted by Cyril de La Patellière, and a plaque with Cocteau's words, "Quand je regarde Villefranche, je voir ma jeunesse, fassent les hommes qu’elle ne change jamais" ("When I see Villefranche, I see my youth. May men make sure it never changes.")
And up the stairs from the docks toward the old village is rue Obscure, or "the hidden road" which is a Medieval passage once part of the original rampart of the walls that protected Villefranche. It was an open parapet until it was enclosed and built over by buildings during the next hundred years or so. It served as a mysterious location for scenes in Cocteau's last film, "The Testament of Orpheus." As part of an Artist's Walk, there is a ground plaque of a piece of art by Cocteau showing the rue Obscure with the words from his memorial by the St. Pierre Chapelle.
Cocteau's influence is still felt in Villefranche: floating among the boats next to the St. Pierre Chapelle, I noticed a vessel named for one of Cocteau's greatest films, "Orphée," in Cocteau's handwriting!
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