I have a collection of old 78rpm records. Mainly of jazz and dance music from the 1930s. But included are one or two of the more popular French songs, that ended up being played regularly on Two Way Family Favourites, a BBC record request programme which was very popular in the 1950s and 1960s.
This is Charles Trenet singing his own song “La Mer”, which he composed on toilet paper on a long train journey. Many other singers, in England and America (including Frank Sinatra) have sung and recorded “La Mer” in its English version “Beyond the Sea”. But none compares with Trenet’s version. Here are the opening words of the song.
La mer qu’on voit danser le long des golfes clairs a des reflets d’argent
La mer des reflets changeants sous la pluie
The chanson continues in this vein for four verses, all much the same. In the last verse, while Trenet is still declaiming how the sea dances along the bay like a love song and gently caresses his heart, the massed female choirs of Montmartre rise up like a school of matronly mermaids behind him, singing along with him in marching tempo at the tops of their voices. It is absolutely hilarious. No other version can begin to match it for its wonderful comic effect.
The French, of course, never notice it.
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Thank you very much Old Fogey for joining the chat last Friday. Perhaps, same again this Friday? Your views are very important to me and I value them. There’s a film I saw in 1991, which I recommend to be seen, about a man who looks back on his life with not a little sadness: http://www.theskykid.com/2008/02/25/toto-the-hero
I know that you covered Le Binoche’s sugar cube this time last year, but I was trying to suggest at the chat, albeit, quite inadequately, that Kieslowski often would work to the camera or film critic. In reality, he was really a very private man, very unlikely to disclose even the slightest detail of his working to anyone. Not even to his wife or daughter with whom he was close. There were reasons for this which is a topic maybe for another chat. I have only watched Kieslowski’s films since 1988 so I consider myself an amateur and I have a lot to learn about his uniqueness yet. But I will offer this, that when one thinks that one is onto something, the odds are, he has, in fact, side-tracked you, even if he suggests otherwise.
Once again, thank you for joining me and the others. It made the difference, I assure you, and was most appreciated.
I remain your most humble & obedient servant, &c. Alexandre Fabbri.
PS: My mother, who was French, loved La Mer. You see, the French, I suppose, get a bit sentimental about things. They love la vie, l’amour, le chocolat, la bonne cuisine, l’arte, la musique, in fact, anything where emotions are involved! Hence, the reason why Irène Jacob was a good choice to play Veronique in La Choriste (The Double Life Of Veronique). Plus Irène Jacob has a wonderful gift to externally suggest her inner feeling with the slightest perceptible movement of facial gestures. I know because I have spoken to her often.
Alexandre It was a pleasure to join in your conversation and I’m glad my contributions were of interest. My knowledge of KK’s work is not so extensive as yours or your other guests and I wasn’t able to follow all the conversation on others of his films. I did my best. I agree about Jacob - she’s why I like Red best I guess.
I’m very fond of La Mer too - and many other French songs. But of course I’m not French, so you must ask your mother not to mind too much when I tease them.
Best wishes OF
Alexandre I beg your pardon. You speak of your mother in the past tense. Forgive my blunder.
OF