Appreciation post for one of the great books of my childhood. It's about a disabled boy finding his place in society, essentially, and it's full of human warmth and care and connection, rather than the gratuitous brutality that's too often associated with the Middle Ages. There's plague, and woodworking, medieval physical therapy, scary Welshmen, music used to measure the passage of time, the phrase she'll bake thee a bannock which was part of my family dialect for years, and it's so, so quietly and gently told. I'm shooing you in its general direction.

François Colin de Blamont (1690-1760) - 'Te Deum', Grand Motet FCB.001

Ensemble Stradivaria, Ensemble Baroque de Nantes & Choeur Marguerite Louise, Gaétan Jarry, Daniel Cuiller Michiko Takahashi, soprano Caroline Arnaud, soprano Sebastian Monti, tenor Romain Champion, tenor Cyril Costanzo, bass

[00:00] I.Te Deum laudamus [02:13] II. Te Deum laudamus [04:12] III. Tibi omnes angeli [05:33] IV. Sanctus Dominus Deus Sabaoth [08:21] V. Pleni sunt cæli et terra [10:43] VI. Te gloriosus Apostolorum [13:30] VII. Tu Rex gloriae [16:08] VIII. Tu, devicto [18:21] IX. Te ergo quaesumus [21:13] X. Salvum Fac [23:31] XI. Per singulos dies [25:21] XII. Dignare Domine [27:06] XIII. Fiat misericordia tua [28:28] XIV. In Te Domine speravi

           “Portrait Of Madame Du Barry”, 1789-1820, by Élisabeth Vigée-Le Brun (French painter, 1755 - 1842).

   The subject of this elegant portrait, Jeanne Du Barry (1743-1793), was one of the courtesans of the eighteenth century that Élizabeth-Louise Vigée Le Brun painted in the course of her long career. What is known of her life reads like a cautionary tale. Jeanne Bécu was born out of wedlock into the servant class of Vaucouleurs, a town on the Meuse river in the province of Champagne near the frontier separating France from the Duchy of Lorraine. The child’s mother, Anne Bécu-Cantigny (1713-1788), was a seamstress, while her father is usually presumed to be Jean Jacques Gomard de Vaubernier (1715-1804), called père or frère Ange, a monk of the tertiary order of St. Francis (Picpus) in whose institution Anne was occasionally employed. With her young daughter, Anne Bécu, travelled to Paris in the company of a financier and supplier to the royal army who had interests in the area, a certain Billard du Monceaux, entrusting them to the care of his mistress, “Mademoiselle Frédéric,” with whom they lived both in the city and in a country house at Courbevoie. When Jeanne was six, her mother married a servant, Nicolas Rançon, who was given employment in a warehouse on the island of Corsica that had recently become a French possession. Over a period of eight years, Jeanne received a sound education in a convent school for indigent or wayward girls run by the nuns of Sainte-Aure not far from the church of Saint Étienne du Mont. She then served for a time as a companion to the widow of a tax concessioner, Madame de Delley de La Garde, one of whose sons became infatuated with her, causing her to be dismissed. She had a brief dalliance with a hairdresser named Lametz, the result of which may have been the birth of a young girl called Betzi. For a time Jeanne apparently made her living as a shop girl under the signboard À la Toilette on the rue Neuve-des-Petits-Champs. Eventually the lovely “Mademoiselle Lange” or “Mademoiselle de Beauvernier,” as she was then alternately calling herself, worked as a prostitute and may even have been employed for a brief spell in the brothel kept by the maquerelle, Marguerite Gourdan or in the gambling den of the so-called “marquise” Dufresnoy. She was ultimately taken up by a notorious sharpster belonging to the minor aristocracy of Gascony, comte Jean Du Barry de Céres (1723-1794), who was known to the Paris police as le Roué (the Rake). He quickly turned his lodgings into a place where he could hire out his “protégée” to men who could pay the exorbitant prices she could garner, among them the Duc de Richelieu and the Treasurer of the royal navy, Maximilien Radix de Sainte-Foix. By the spring of 1768 Jean Du Barry had contrived to present the young woman to Louis XV’s premier valet de chambre, Dominique Lebel, who for years had served his master as a procurer of girls lodged in a house in the town of Versailles, the Parc-aux-Cerfs. Through the intrigues of Richelieu and Lebel, Jeanne was introduced to the monarch, who was immediately smitten with her charm. These famously included an exquisite complexion, a beautiful bosom — as can be seen from the marble bust of her carved by Augustin Pajou, Musée du Louvre—, a profusion of ash-blonde hair, blue eyes that were often half closed and a pronounced lisp, which gave her speech a childlike innocence. Until this time, Louis’s official mistresses had been either of the highest aristocracy or, in the case of Madame de Pompadour – who had recently died at the age of forty-three of physical exhaustion and tuberculosis – of the highest ranks of the moneyed class. Once she had been stealthily married off to Du Barry’s younger brother Guillaume – who was quickly dispensed with – and titled “comtesse Du Barry,” Jeanne was formally presented at Court in the third week of April 1769. She was assigned luxuriously appointed apartments in Versailles and other royal residences and was immediately surrounded by a coterie of courtiers, male and female alike, military officers and state officials. The Comtesse du Barry soon incurred the intense loathing of the royal family (the king’s spinster daughters, his grandson and heir, the Dauphin, and especially the latter’s wife, Marie Antoinette) and the Minister of Foreign Affairs, the duc de Choiseul. Madame Du Barry found herself in the crosshairs of much of the Court and the representatives of the underground press, for whom she was easy prey. The comtesse, who was clever beyond her years and quickly assimilated the tastes, manners and conventions of the aristocracy, was installed in great opulence at Versailles, and her official presentation to the royal family took place on 22 April 1769. Considerably less grasping and meddlesome than the Pompadour, she did exercise some influence in the realms of fashion and the arts. The painters Joseph Vernet, Jean Baptiste Greuze, Jean Honoré Fragonard and François Hubert Drouais, the sculptor Augustin Pajou and the architect Claude Nicolas Ledoux all derived considerable benefit from her largesse. Undeniably, the finest work of art she ever owned was Sir Anthony van Dyck’s full-length Portrait of King Charles I of England at the Hunt (Musée du Louvre, Paris), a painting she sold to Louis XVI after her fall from grace. In the area of politics, she finally brought about the banishment from Court of her nemesis, the powerful Choiseul, who was unrelenting in his hostility to her. Through some of her allies — notably Choiseul’s replacement, the duc d’Aiguillon (old Richelieu’s kinsman), the Comptroller General of Finance and head of the fine arts administration, the abbé Terray, and the Chancellor of France and Keeper of the Seals, René Nicolas Maupeou — she may have had an impact on the conduct of affairs of state, but less than her higher-born predecessors had had. That being said, she was profligate and lavished great sums of money provided to her by the royal bankers on herself, her Du Barry relations and the favorites who paid court to her. The king purchased for her the Château de Luciennes (the eighteenth-century spelling of Louveciennes), and she commissioned Ledoux to design and construct an exquisite little neo-classical pavilion for which Jean Honoré Fragonard painted the four-panelled Progress of Love in the Hearts of Young Girls (The Frick Collection, New York). She foolishly rejected these masterpieces and replaced them with a set of more fashionable but rather insipid neo-Greek compositions by Joseph Marie Vien. The four years of her tenure as official mistress of the king were the highpoint of Madame Du Barry’s life. After Louis XV died of smallpox in 1774, Jeanne Du Barry was disgraced and banished from Court. After a period of confinement in a convent, she lived in retirement at Luciennes, where she was visited by new lovers, most prominent among them Hyacinthe Hugues Timoléon de Cossé, duc de Brissac, the governor of Paris. As the Revolution approached, Madame Du Barry remained unswervingly loyal to the monarchy. She eventually came under the scrutiny of agents of the local revolutionary clubs. The reported theft of her jewels in 1791 was the pretext she used to make several crossings to England where French spies noted her close contacts with exiled supporters of the old regime. She even wore morning in London when Louis XVI was guillotined. In early September of 1792, Brissac, whom Louis XVI had appointed commander of his Swiss Guards, was killed by a mob as he and other prisoners were crossing through Versailles; it is said that his head was carried to the château at Louveciennes. Denounced for crimes of aristocracy and treason, the comtesse Du Barry was arrested on September 22, 1793. At first incarcerated in the prison of Sainte-Pélagie, she was later transferred to the Conciergerie. At her trial some of her servants, notably her cook Salanave and her Bengali groom Zamor, betrayed her (J. Baillio, ‘Un portrait de Zamor, page bengalais de Madame Du Barry,’ Gazette des Beaux-Arts, vol. CXLIV, no. 1065, October 2002, pp. 233-242). On receiving the death sentence, the distraught woman revealed the location of many of the valuables she had hidden on her estate. On 8 December 1793—18 Frimaire an II of the revolutionary calendar—Jeanne Du Barry and her Flemish bankers, the Vandenyvers father and two sons, were executed. How Vigée Le Brun originally became acquainted with Madame Du Barry is unknown. It could have been through her brother-in-law, Jean du Barry, whose portrait she had executed when she was only eighteen. Or, more likely, it could have been upon the recommendation of the duc de Brissac, whose portrait “en costume de cérémonie” she had executed in pastel in the early 1780s, a work exhibited at Pahin de la Blancherie’s Salon de la Correspondance in 1781 and 1782. In the dated list of portraits and subject pictures done between 1768 and 1789 that she appended to vol. I of her memoirs, the painter accounts for a number of likenesses of Du Barry: a copy of a portrait of her by another artist done in 1778 (unlocated or unidentified); a portrait done from life in 1781, which is either the half-length in which she is shown wearing a white muslin chemise or peignoir and a straw hat, a work that exists in two more or less well preserved autograph versions (figs. 1 and 2), or the almost knee-length portrait showing the comtesse wearing a creamy white satin dress à l’espagnole holding a wreath of flowers and leaning on a porphyry column, a work completed and signed and dated the following year (fig. 3); and a full-length portrait (1787), which either never existed or has not survived, and one of the aforementioned portraits of her wearing a peignoir. There is no mention however in the lists of the present portrait, which she began at the Château de Louveciennes during at the end of September 1789, leaving it unfinished only weeks before she felt obliged to leave France. She does however refer to it in the text of the Souvenirs: “The third portrait that I did of Mme Dubarri is in my house. I began it around the middle of September 1789. From Louveciennes, we heard incessant cannonades, and I remember the poor woman telling me. ‘If Louis XV were still alive, certainly none of this would be happening.’ I painted the head and sketched out the body and the arms, then I was obliged to make a trip to Paris. I hoped to be able to return to Louveciennes to finish my work, but Berthier and Foulon had just been assassinated [22 July 1789]. I was out of my mind with fear, and I could only think of leaving France. I therefore left this painting half finished. I know not how by chance comte Louis de Narbonne came into possession of it during my absence. Upon my return to France, he returned it and I have just finished it.” Madame Le Brun left Paris with her daughter in October of 1789, the same night that the royal family was forcibly removed by a mob from the Versailles and made to take up residence in Paris at the Palais des Tuileries, a major step in the eradication of the centuries-old monarchs. She settled in Rome and on July 2, 1790, after a financially profitable stay in Naples, she wrote to Madame Du Barry that she was hoping to return to Louveciennes to complete the portrait in October of that year. “I was hoping to stay here only six weeks, but I have so many paintings to do that I am staying six months. That postpones my beloved project for Louveciennes, that of finishing your portrait, but I will come back with pleasure, because there everything is lovely, everything is fine…” This is undoubtedly the unfinished portrait of the comtesse Du Barry which the duc de Rohan Chabot found in the Paris townhouse on the rue de Grenelle, of the murdered duc de Brissac, reporting in a letter to her, “I picked up the three portraits of you which were at his house. I kept one of the smaller ones. It’s the original of the one which shows you wearing a white chemise or a peignoir and a hat with a plume, the second is a copy of the one in which the head is finished, but the clothing is only sketched in. Neither of them is framed” (C. Vatel, Histoire de Madame du Barry d’après ses papiers personnels et les documents des archives publiques, Versailles, 1883, III, pp. 201-202).Here Madame du Barry is shown seated on a bench in a garden next to a tree with an ivy-covered trunk. The skin tones of her face are florid, and there is a beauty spot under her left eye. Her left hand fondles a thick braid of the unpowdered tresses, but the rest of her hair is arranged in curls around her face or falls to her shoulders. The artist has woven a gold bordered transparent veil into this coiffure in the manner of a turban knotted at the top and falling onto her back. Over a filmy long-sleeved shift attached with gold buttons running down the arms to the wrists, she wears a golden ochre gown shot with green reflections which is caught up under her ample bosom with a sash of pink silk tied at the rear into a large bow. In her right hand she holds a nosegay composed of a white lily—a symbol of Madame Du Barry’s royalist convictions—and a pink rose she has just picked from the flowering bush at the lower right of the portrait. Vigée Le Brun returned to Paris after her twelve-year exile from France during the period of the Émigration and took up once again residence in the Hôtel Le Brun on the rue du Gros-Chenet. Sometime after this event, the portrait was restored to her by the comte de Narbonne-Lara, the son of a lady-in-waiting to Louis XV’s daughters, Louise Elisabeth de France, Duchess of Parma and Piacenza (1727-1759) and Madame Adélaïde de France (1732-1801). On December 15, 1802, eleven months after her return from exile, the Prussian composer Johann Friedrich Reichardt (1752-1814) visited with a group of friends the French artist’s studio. Among the many works he noticed were unfinished portraits of Marie Antoinette (possibly a bust-length picture) and the Comtesse Du Barry, the work under discussion. It inspired him with melancholic thoughts: “Melancholic reflections in which I did not expect to indulge myself in the cheerful studio of the genial artist were inspired by the view of two unfinished portraits placed near each other: that of Mme du Barry and that of the unfortunate queen of France. How many thoughts does a similar, rather strange, juxtaposition by Mme Lebrun, not elicit, it seems to me.” (J.F. Reichardt, Vertraute Briefe aus Paris Geschrieben in den Jahren 1802 und 1803 […], A. Laquiante, ed., Paris, 1896, pp. 148-151.) Details of why or precisely when Vigée Le Brun returned to the present portrait and finished it are few. She refers to its completion in her Souvenirs only briefly: "I know not how by chance comte Louis de Narbonne came in possession of it during my absence. Upon my return to France [in 1801], he returned it and I have just finished it." As Vigée Le Brun began writing her celebrated memoirs in the early 1820s—they were published in 1835—one may presume that she resumed work on the painting and completed it in the early to mid-1820s, a dating that accords with the style of much of the drapery and landscape setting. The finished portrait was hung in the second of Vigée Le Brun’s two salons that contained the most important of the paintings she had retained, rooms overlooking the garden of the townhouse she occupied at the end of her long life, the Hôtel du Coq, which was located at 99 rue Saint-Lazare across from the construction site of the locomotive station that later became the Gare Saint-Lazare. A red-chalk copy of the bust by the engraver Alexandre-Vincent Sixdeniers (1795-1846) is today preserved in a private Swiss collection. A patiche of the painting showing Madame Du Barry wearing a green silk dress over a short-sleeved undergarment, which is usually attributed to Vigée Le Brun's niece by marriage, Eugénie Tripier Le Franc, formerly in the collection of the subject’s biographer Charles Vatel, is today in the Musée Lambinet, Versailles. Élisabeth Vigée-Le Brun, the daughter of a minor painter, Louis Vigée, was born and brought up in Paris. She became a member of the Académie de St-Luc in 1774 and of the French Academy in 1783. She was a highly fashionable portrait painter, patronised particularly by Queen Marie Antoinette. Between 1789 and 1805 she travelled in Europe and visited Russia.

Avril MMXXI

Films

Une idée de génie (Ingenious) (2009) de Jeff Balsmeyer avec Dallas Roberts, Jeremy Renner, Ayelet Zurer, Marguerite Moreau et Amanda Anka

Ghost in the Shell (2017) de Rupert Sanders avec Scarlett Johansson, Takeshi Kitano, Michael Pitt, Pilou Asbæk et Juliette Binoche

Comment voler un million de dollars (How to Steal a Million) (1966) de William Wyler avec Audrey Hepburn, Peter O'Toole, Hugh Griffith et Eli Wallach

Niagara (1953) de Henry Hathaway avec Marilyn Monroe, Joseph Cotten, Jean Peters, Casey Adams et Denis O'Dea

Faut pas prendre les enfants du bon Dieu pour des canards sauvages (1968) de Michel Audiard avec Françoise Rosay, Bernard Blier, Marlène Jobert et André Pousse

Lost in Translation (2003) de Sofia Coppola avec Scarlett Johansson, Bill Murray, Giovanni Ribisi et Anna Faris

Mission impossible 2 (Mission: Impossible 2) (2000) de John Woo avec Tom Cruise, Dougray Scott, Thandie Newton et Ving Rhames

Dies iræ (2003) d’Alexandre Astier avec Tony Saba, Thomas Cousseau, Lionnel Astier, Nicolas Gabion, Franck Pitiot, Jean-Christophe Hembert, Alexandre Astier et Jean-Robert Lombard

Poulet au vinaigre (1985) de Claude Chabrol avec Jean Poiret, Stéphane Audran, Lucas Belvaux, Michel Bouquet, Caroline Cellier, Jean Topart et Pauline Lafont

Tony Rome est dangereux (Tony Rome) (1967) de Gordon Douglas avec Frank Sinatra, Jill St John, Richard Conte, Gena Rowlands et Simon Oakland

Le Retour de la Panthère Rose (The Return of the Pink Panther) (1975) de Blake Edwards avec Peter Sellers, Christopher Plummer, Catherine Schell et Herbert Lom

Spectacles

Une femme presque fidèle (1977) de Jacques Bernard avec Jacques Mauclair, Dominique Paturel, Jacqueline Gauthier, Monique Tarbès et Sacha Briquet

Nono (1984) de Sacha Guitry avec Michel Roux, Bernard Alane, Robert Manuel et Katia Tchenko

Séries

Friends Saison 5, 6

Celui qui rate son week-end - Celui qui a du mal à se taire - Celui qui emménage - Celui qui avait des souvenirs difficiles à avaler - Celui qui s'était fait piquer son sandwich - Celui qui avait une sœur un peu spéciale - Celui qui prenait de bonnes résolutions - Celui qui riait différemment - Celui qui avait un sac - Celui qui découvre tout - Celui qui prenait des coups - Celui qui enviait ses amis - Celui qui ne savait pas se repérer - Celui qui se sacrifiait - Celui qui ne savait pas flirter - Celui qui sauvait des vies - Celui qui jouait à la balle - Celui qui devait casser la baraque - Celui qui était à Las Vegas : 1re partie - Celui qui était à Las Vegas : 2e partie - Ceux qui revenaient de Las Vegas - Celui qui console Rachel - Celui qui était de mauvaise foi - Celui qui perdait sa belle assurance - Celui qui avait une belle bagnole - Ceux qui passaient leur dernière nuit - Celui qui avait une jolie colocataire - Celui qui avait les dents blanches - Celui qui s'était drogué - Celui qui souhaitait la bonne année - Celui qui avait le derrière entre deux chaises - Celui qui inventait des histoires - Celui qui sortait avec la sœur

Méli Mélo Saison 1, 2, 3

Au prix que ça coûte ! - Sors de ton lit ! - Vive l'herbe libre - Allais, allez ! - Des tout petits cachets ! - Bzz ! - Tartare de sédiments ! - Papy lingette ! - Eau propre eau sale ! - Le goût des eaux - Le changement c'est maintenant ! - Les sceptiques de la fosse ! - Culture et Captages - L'étroite moustiquaire - Un léger penchant ! - De source sûre !

Meurtres au paradis Saison 10

Meurtre dans la matinale - Trésors enfouis - Jackpot - Enquête sous perfusion

Nestor Burma Saison 3

Les Eaux troubles de Javel - Nestor Burma court la poupée - Brouillard au pont de Tolbiac

Kaamelott Livre IV, I

La Carte - Le Repas de famille - Le Répurgateur - Le Labyrinthe - Beaucoup de bruit pour rien - Le Oud II - Le discours - Le Duel - L'Invasion viking - La Bataille rangée - La Romance de Perceval - Unagi IV - La Permission - Anges et Démons - Les Tartes aux fraises - Le Chaudron rutilant - La Visite d’Ygerne - Les Clandestins - La Kleptomane - Le Pain - La Mort le Roy Artu - Le Problème du chou - Un roi à la taverne - Les Fesses de Guenièvre

Les Nouvelles Aventures de Lucky Luke

Liki Liki - Lucky Luke en Alaska

Top Gear Saison 14, 21, 19, 22, 13

Road Trip en Roumanie - Road Trip à Tchernobyl - Spécial Afrique : Première partie - Les pires voitures de l’histoire - Les imbéciles changent d'avis ! - Passion vintage

Columbo Saison 7, 3

Le mystère de la chambre forte - Au-delà de la folie

Livres

Lucky Luke #52 : Fingers de Morris et Hartog Van Banda

Plan de bataille pour OSS 117 de Jean Bruce

Lucky Luke #33 : Le Pied-Tendre de Morris et René Goscinny

Superman Poche N°48

On est foutu, on pense trop ! de Serge Marquis

Wanted Lucky Luke de Matthieu Bonhomme

Per tutto l’inverno, i gomiti a una finestra, alta, tra il cielo freddo e la superficie gelata del lago, egli si dedicò a calcolare la posizione delle stelle atte a portare felicità o disgrazie alla dinastia dei Vasa, aiutato in questo compito dal giovane principe Erik, divorato da una sete morbosa di quelle scienze pericolose. Invano Zenone gli ripeteva che gli astri imprimono un indirizzo ai nostri destini ma non li decidono, e che altrettanto forte e misterioso regolatore della nostra vita e obbediente a leggi più complicate delle nostre, è quell’astro rosso che palpita nel buio del corpo, sospeso nella sua gabbia d’ossa e di carne. Ma Erik era di quelli che preferiscono ricevere il loro destino dal di fuori, sia per orgoglio, poiché trovava bello che lo stesso cielo si occupasse della sua sorte, sia per indolenza, per non dover rispondere né del bene né del male che portava in sé, credeva agli astri come, ad onta della fede riformata che aveva ricevuto dal padre, pregava i santi e gli angeli.

Marguerite Yourcenar, L’opera al nero

d’Agnès Sorel le tombeau

d’Agnès, d’Agnès Sorel le tombeau le tombeau noir et blanc dans l’aile de la grotte ursine Saint-Ours protège Agnès Sorel  Saint-Ours protège ce qui d’Agnès Sorel reste ce qui d’une urne jetée à la révolution  dans le prieuré d’à-côté ce qui a été jeté dans une urne  quand le tombeau du coeur  au sein de la grotte ursine de Loches vers l’aile a été déplacé  une dentition parfaite du jus de putréfaction une chevelure dorée comme les poils pubiens qui s’y trouvaient l’étaient quelques os  ce qui d’une urne jetée à la révolution a été retrouvé a retrouvé  le tombeau noir et blanc d’Agnès Sorel  mais jamais jamais son coeur n’a abrité morte au Mesnil-Jouxte-Jumièges morte  Sorel son corps partitionné  embaumé son corps moins son coeur errant envoyé aux saints de Saint-Ours son coeur vers ce qui  a été conquis par la force de l’amour de l’amour de l’amour et de l’amour de la guerre  ce qui a été élevé et sera détruit  de Jumièges, la cathédrale gothique dévastée, la révolution la révolutionne nadir romantique, ruines parallèle parallèle urne jetée

tombeau d’agnès sorel

(Isabelle de Lorraine-prem’s est Barbe Bleue, son sexe se prénomme Charles (Et son sexe, son pouvoir de la mère de Charles, d’Isabeau de Bavière Charles, elle, protège (Bonne mère lorraine, la bonne protecmère-poule son sexe l’entoure pour de son jeu l’épingle tirer (Isabelle de son propre lit, d’Anjou, de René, tire leur fille, Marguerite : à Charles-coton mariée, (Puis pour ce fil broder, sur le trône le faire monter septième Charles, asseoir de son sexe le pouvoir   (Isabelle de son propre pays, de sa Lorraine, de sa campagne d’Arc tir la flèche l’amour de la guerre, Jehanne, (Puis in fine, pour le dernier nœud noué, accroche-cœur, rêt beauté  (Isabelle de sa propre cour extrait une dame d’honneur, c’est Sorel l’amour de l’amour l’élan (Barbisa-Bleue a autour de sa bite bien attachée les quatre coins de son mouchoir, bru-mère, femme-enfante, sainte-guerrière, intelligente-amante : Barbisa-bleue n’a rien oublié  

agnès sorel d’après jean fouquet

Mais je ne dis rien, encore rien de l’amour du tombeau Du tombeau noir et blanc Du tombeau noir Et de la statuaire blanche De la statuaire blanche posée flottant à même la peau Du marbre noir du tombeau noir Tout contre les plissés du tissu d’albâtre Ce que je sais de cet plateau de marbre noir C’est qu’il a vu le sang couler Les sangs mêlés des sangs de bêtes égorgées, agneaux-agnès, Démembrées équarries dépecées débitées Par un.e bouchèr.e-charcutièr.e Entre la peau d’albâtre et la peau noire du marbre, Entre peau et peau le sang toujours coule ferrique,              (l’ancienne restauration a nécessité qu’entre ces deux              (ces deux couleurs, ces deux pierres              (une plaque de métal vienne              (plaque plateau, gâteau de la statuaire en miette              (j’imagine cette plaque de métal              (la silhouette que dessinait, que dessine              (cette plaque de métal de celle de Sorel              (de la statuaire Sorel cette plaque d’acier              (d’acier peut-être, comme peut être de fer              (la silhouette de la dite dame de beauté              (si toujours existe, cette plaque, j’aimerais la voir  ferrique, féerique dame de beauté comme contre ton sein peint les démons, les anges, les sangs   Sont toujours bleus et rouges Veineux et artériel Vénale et arc-en-ciel Noir et blanc Tombeau

détail du gisant d’agnès sorel (anonyme)

sur ce tombeau, il y a des poèmes, des textes et des poèmes, des prières la première court tout autour du biseau de la dalle bouchère couchée le billot noir, marbre basalte à feu et à sang et le second s’érige dalle noire qui du dais scelle vertical’horizontal le ciel c’est-à-dire le texte-pourtour 

                Cy gist noble damoyselle Agnès Seurelle en son vivant dame                 de Beaulté, de Roquesserière, d'Issouldun et de Vernon-sur                 Seine piteuse envers toutes les gens et qui largement                 donnoit de ses biens aux eglyses et aux pauvres laquelle                 trespassa le IXe jour de février l'an de grâce MCCCCXLIX,                 priies Dieu pour lame delle. Amen

le texte-pourtour dalle rectangularise plan l’horizon où s’érige le texte-ciel, petite stèle-paysage noire et verticale c’est-à-dire qu’ici c’est-à-dire que le tombeau d’Agnès Sorel rend au ciel-plan sa verticalité ici le ciel est vertical vertical vertige s’érige depuis le plan-terre terrain, pays, paysage sur lequel le corps d’une presque-reine est couché aux pieds de laquelle deux béliers, deux agneaux-agnès, sont couchés Couchée-couchés cachée-couchée cachou trop chou ne sont surtout pas sur le même plan les béliers encore-toujours-debout leurs têtes quand leurs pattes sous leur corps sont repliées debout couchés cachent de la reine de beauté ce qui le sol d’elle touchait, l’y reliait, à peine, feu fée dame de beauté, ses petits pieds le sol peut-être survolaient comme survolent la mort, comme les deux marbres se touchent sans se toucher, le contraste fait porter le regard en haut, en bas, en haut la ligne de partage se trouble, est trouble, trouble, tremblait Agnès Sorel plane aux cornes retroussées deux béliers blancs aux boucles-soies volutes nuages leurs boucles-soies mangas

détail du gisant d’agnès sorel (anonyme) 

  Le corps d’Agnès Sorel, qui est figuré couché, pourrait tout aussi bien Etre droit debout érigé Erigé sous son dais comme contre le pilier d’une église, A l’entrée d’une église, les saints les saintes sont représenté,es Sous un dais, leur visage paisible Agnès Sorel allongée est aussi Agnès Sorel vivante debout Protégeant qui elle aime depuis le ciel La terre Depuis les béliers-nuages C’est ce rapport de la verticalité à l’horizontalité La verticalité rencontrant toujours l’horizontalité La spiritualité tout le temps la chair C’est cette figuration que je trouve Si belle Sorel Si sœur, ne délie Sorel cœur ce qui Affecte réfléchit chie

détail du gisant d’agnès sorel (anonyme)

Aux épaules des anges la soutiennent Les épaules de Sorel, tout le haut de son corps  vu de côté n’est que draperie de plumes  Agnès supportée vole leurs ailes, ce sont les siennes Leurs ailes ses ailes qui ceignent ses mais jointes Les leurs glissées sous des coussins Qui froncent du poids de la statuaire De Sorel la robe ne découvre le sein La robe est chappe, est verticale Un motif trinitaire architecture son cintre Par le milieu Trinitaire comme hermine Si je pense au gisant d’Anne de Bretagne Le gisant de Sorel Est rigide Encore roide Pas encore dans le feu de la mort N’est pas dans le feu de sa mort figurée  Sorel Pas dans cette éternité Ainsi son visage, le visage impassible Est le visage mort, cireux Le visage sans vie des chevaliers Des preux, de celles et ceux Qui meurent servant leur idé- Qui meurent la le poursuivant En meurent, meure mercure Sorel Si au dernier instant Sorel avait été figée Aurait eu les jambes écartées de la chatte des vers Surgiraient Surgit l’évoquant manga encore Manga post-Hiroshima La mort mange A mangé Sorel la mort mercure La mort beauté meurt Son visage la voulant figer Alors que partout ce tombeau Dit le vol plan, le survol brisant toutes règles de pesanteur brisant la dame de beauté

dessin de toshio saeki

Seeing the light: what Henri Matisse discovered in Provence

Born in cool northern France, the artist decided to call Nice home after realising the difference its light could make to his work. Now the city is celebrating him.

Henri Matisse, the son of a merchant family from cold, grey Picardy, in northern France, was pulled inexorably south by the promise of art and light. While serving as a law clerk in the town of Saint-Quentin Matisse attended drawing classes at a textile-design school from 7am until 8am each day. When he finally left for art school in Paris, his father, who wanted him to be a lawyer, was broken-hearted.

By a quirk of fate Matisse began and ended his artistic life in bed. When he was recovering from appendicitis at the age of 21, Matisse’s mother gave him a box of paints. More than half a century later, in 1941, he underwent an operation for cancer of the intestine in wartime Lyons. “Give me three or four years to live, I beg of you. I need it to finish my oeuvre,” he told the doctor.

Matisse lived for 13 more years, wearing a metal corset and producing some of his finest work in bed, cutting gouache-painted paper, then directing his assistant, like an orchestra conductor, to arrange the shapes on the walls.

Matisse had sojourned on the Mediterranean coast early in the century, first at St Tropez, then at Collioure. He imitated the impressionists: Van Gogh, Signac and, especially, Cézanne. He shifted from pointillism to fauvism, avoided cubism, and was in his late 30s before he began painting in the style that was recognisably his own: simplified, monumental nudes; decorative, flat-surfaced interiors with arabesque motifs and open windows, often with a female model.

Matisse moved to Nice in 1917 and, with some exceptions, stayed there until his death in 1954.

“When I understood that I would see this light every morning I couldn’t believe my good fortune,” he said.

When the city asked Matisse to design a poster promoting its charms he suggested his Still Life with Pomegranates, with a plate of fruit, open window and palm tree. “Nice. Travail. Joie. H. Matisse,” he wrote beneath the painting.

Matisse lived surrounded by plants, flowers and cats in the Victorian-era Hôtel Régina, which had been converted to apartments, on the heights of Cimiez, overlooking Nice.

Fifty years ago the city inaugurated the Musée Matisse, in a 17th-century villa opposite the Régina. To celebrate the anniversary the city has organised A Summer for Matisse, eight exhibitions that run across the city until September 23rd.

Matisse and music

Only three of the exhibitions are specifically about Matisse. The finest, Matisse: Music at Work, at the Musée Matisse, demonstrates the importance of music in the painter’s life. At the baroque Palais Lascaris, in the heart of the old town, you can see Matisse’s illustrations for Jazz, the artist’s book he created for the publisher Tériade, in the 1940s. Posters for Matisse exhibitions are at a third venue.

An exhibition devoted to Gustave Moreau, the symbolist painter who was Matisse’s teacher, is the most interesting of five other shows. It is a sign of Matisse’s greater fame that curators have searched for precursors of Matisse’s work in Moreau’s intricate, oneiric orientalist style.

Matisse often compared the discipline and practice required by music to that of painting. He likened the precision of drawing and engraving to musical composition. “All my colours sing together, like a chord in music,” he said.

The music exhibition opens with Sorrows of the King, on loan from the Pompidou Centre, in Paris. A collage four metres wide and three metres high, its bright colours, floating yellow leaves and dancing woman belie the title.

Matisse created the work just two years before his death. It represents Salomé dancing for King Herod. Some experts say the dark figure holding a yellow guitar at the centre was a final self-portrait.

Violins and pianos appear often in Matisse’s paintings. “In Nice in 1918 . . . he began studying the violin very seriously,” Matisse’s wife, Amélie, wrote. “When I asked him why, Henri answered, ‘I’m afraid of losing my sight and not being able to paint. If I’m blind, I’ll have to give up painting, but not music.’ ”

In Matisse’s paintings musical instruments sometimes seem aesthetic objects valued for their shape but detached from purpose, as with the lute in the bottom left of Matisse’s 1915 version of a 17th-century Dutch still-life, on loan from the Museum of Modern Art in New York.

In Matisse’s Interior With a Violin Case, also on loan from MoMa, we look out of the window of his Nice hotel room to the Baie des Anges. The empty violin case, like an open seashell on the yellow armchair, brings the azure sea and sky into the room.

Matisse listened to music on the radio while painting. A Provencal farandole dance tune went around and around in his head, he recounted, when he painted successive versions of his monumental Dance.

In 1929 Amélie wrote to the painter’s daughter, Marguerite (whom he had with the model Caroline Joblau), “Your father has the phonograph on . . . playing all kinds of jazz; the most suggestive tangos. He’s dancing the tango, Luxury Babe. He’s wearing his dressing gown and his black silk cap.”

Years later, while sketching the stations of the cross for the Dominican chapel at Vence, Matisse immersed himself in Bach’s St John Passion.

Before he married Amélie, Matisse wrote to her, “I love you a great deal, but I shall always love painting more.” He later described his work habits to an interviewer. “I go to bed at 10pm and I rise at 6am, partly because I want to use all the light possible.” He drank very little and indulged in “no excess of any sort”. His sole recreation, he said, was the violin.

At the bleakest times – during two world wars and the arrest of his wife and daughter by the Gestapo – Matisse never allowed his troubles to diminish the luminous joy of his creations. “Sometimes I say to myself, ‘What a beautiful day! How I’d like to take a little trip, not far from here, to see Rouault or Bonnard!’ ” he wrote. “But I think of the colour that would dry on the canvas. I’m chained to the work-in-progress and if I walk away I’ll be remorseful. I cannot go to sleep at night without preparing the work for the following morning. I am one with painting, like an animal with the thing it loves.”

Matisse had used paper cut-outs to organise his compositions in the 1930s, but after his 1941 cancer operation he turned the practice into a new art. He called it drawing with scissors. For him it resolved the challenge of reconciling line and colour.

Matisse spent four years on the bright collages for the art book Jazz. Only 270 copies were printed, in 1947. The chromatic syncopation and improvisation of Matisse’s collages were somehow evocative of the music brought by American GIs: the music of liberation. African-American musicians played in the first international jazz festival in Nice, in 1948. Perhaps not by chance, the most emblematic image, Icarus, shows a black man with a beating red heart, floating against a blue sky studded with yellow stars.

In retrospect Matisse regarded his work on Jazz as preparation for the chapel at Vence, which he considered his masterpiece. His friend and rival Picasso was so jealous of the jewel-like space, with its frescoes and blue, green and yellow stained glass, he said, “Matisse doesn’t believe in God any more than I do. How could he do such a thing?”

Amélie asked Henri to choose between her and Lydia Delectorskaya, the orphaned Siberian beauty, 40 years Matisse’s junior, who was their domestic before she became his assistant and model. Matisse chose his wife, but Amélie was so jealous she left anyway, after 40 years of marriage.

By all accounts Matisse’s relationship with Delectorskaya was platonic but close and tender. “Matisse said he came eventually to know her face and body by heart, like the alphabet,” Hilary Spurling writes in her excellent biography of Matisse.

The day before Matisse died Delectorskaya came to his room with her wet hair wrapped in a towel. He drew her portrait with a ballpoint pen. Assessing it at arm’s length, he said, “It will do.” It was his last work of art.

~ Lara Marlowe · Sat, Aug 31, 2013.

Movies 2018

 List of films I watched in 2018 from best to worst.

Updated soon after I’ve seen them.

A Ghost Story [David Lowery, 2017, United States] No film has made me feel this melancholic ever. This is a film so profound, it examines existence in the simplest yet most esoteric way possible. It surely goes straight to the top of my all-time favourite list. 10/10

Burning (Boening) [Chang-dong Lee, 2018, South Korea] Shows the interrelation of hunger and class, the truths and the unknowns. Of how desires could either free you or cage you in unhappiness and despair. A mystery of misery that parallels its political viewpoint. 10/10

Roma [Alfonso Cuaron, 2018, Mexico] Its technical expertise in every element of every frame and composition is overwhelming. It's a movie about contrasts and how each opposite gives life balance, told with such authenticity, it's luxurious cinematic experience. 10/10

Women of the Weeping River [Dayoc, 2016, Philippines] A film about a generational blood feud, and also a metaphoric portrayal of the unending armed conflicts in Mindanao where the vulnerable is the most at risk, and the strong isn’t really unbreakable. 10/10

Kung Paano Hinihintay Ang Dapithapon [Carlo Catu, 2018, Philippines] a small film that tackles layers after layers of things too close to heart. Sincere and profound, definitely my favourite. 10/10  

Loveless (Nelyubov) [Andrey Zvyagintsev, 2018, Russia] cold and chilling in all aspect from start to end. It has such great observation of the recognizable societal apathy. 10/10

Beats Per Minute (BPM) [Robin Campillo, 2017, France] Goosebumps. This is a film clear of its objective, it is exhilarating and exhausting in the good kind of way. 10/10

Cold War (Zimna Wojna) [Pawel Pawlikowski, 2018, Poland] Makes something despairing so beautiful with its artful composition, rightly-paced narrative transition, and cold but affecting character treatment. 10/10

Faces Places [JR, Agnès Varda, 2018, France] Wow. This is the film to watch when your soul is dying for art. Tears, I can't help them from falling. 10/10

Sid & Aya [Irene Villamor, 2018, Philippines] It’s too beautiful, I’m crying halfway through the film for how beautiful it is. You can watch this film without audio and understand it by its lighting, it’s that amazing. 10/10

Arrhythmia (Aritmiya) [Boris Khlebnikov, 2017, Russia] For a movie with characters of increasingly tenuous emotional bond, this is teeming with sensitivity and sensibility. It has so much love, neutrality, and longing, yet so cold and fleeting. Definitely, an emotional rollercoaster of my liking. 10/10

Shoplifters [Hirokazu Kore-eda, 2018, Japan] a film that questions if blood is thicker than the ties that bind us. Here’s Kore-eda capturing our hearts again with his gently-observed humanism. 10/10

Gusto Kita With All My Hypothalamus [Dwein Baltazar, 2018, Philippines] a genius anti-romance that plays along the lines of loving the thought of being in love and making yourself believe in your own ethereality. I love it. 10/10

Balangiga: Howling Wilderness [Khavn, 2017, Philippines] Disheartening and provocative in all its hypnagogia. 10/10

A Star is Born [Bardley Cooper, 2018, United States] If only for its music and its astounding performances, I'm already sold. 10/10

Oda sa Wala [Dwein Baltazar, 2018, Philippines] Is an ode to nothing, to the unseen, to the nobody, to the dead that's more alive than the living and to the living that's more dead than those who died. Baltazar has this gilt-edged technique that leaves its audience wretched yet buoyant. 10/10

The Shape of Water [Guillermo del Toro, 2017, United States] Elegant in its visuals, storytelling, and performances. It is del Toro’s best yet. 10/10

The Guilty (Den Skyldige) [Gustav Möller, 2018, Denmark] Is clever in its minimalism. A fast-paced action thriller and a psychological suspense, all shot entirely between four walls. 9.5/10

Hereditary [Ari Aster, 2018, United States] Unsettling down to the core with a convincing cast and a powerful storytelling. 9.5/10 

Batch 81 [Mike de Leon, 1982, Philippines] In its subversiveness and its sardonic undertone is a remarkable spectacle of expertise, bravery, esoterica, and dynamism. 9.5/10 

Dogman [Matteo Garrone, 2018, Italy] Examines a man's need to be recognized as a chihuahua in a shepherd's world. 9.5/10

BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it's the kind of film that stays. 9.5/10 

God’s Own Country [Francis Lee, 2017, United Kingdom] Features a kind of romance with such carefully-observed realism. It was very well portrayed. Very well. 9/10

Sunday's Illness (La Enfermedad del Doming) [Ramon Salazar, 2018, Spain] Scene after scene of mesmerizing mystery and such powerful attention to detail. 9/10 

Annihilation [Alex Garland, 2018, United States] Though at times flawed, it ended with such thought-provoking, ambitious, and lasting impact. 9/10 

Captain America: Civil War [Joe Russo, Anthony Russo, 2016, United States] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 9/10 

The Florida Project [Sean Baker, 2017, United States] Kids, no matter the social class, are still just kids in search for adventure, friendship, and love. This movie doesn't feel like a movie at all, it's brilliant. 9/10

Signal Rock [Chito Rono, 2018, Philippines] Very raw and phenomenal. Each character formidably plays an important role in characterizing a small town of heartwarming spirit. If not for its distracting bad CGI which I think is unnecessary, I’d give it a perfect 10. 9/10

Beti [P. Sheshadri, 2017, India] manages to oppose patriarchy in Indian culture in such an innocent yet intelligible perspective. 9/10 

Train to Busan [Yeon Sang-ho, 2016, South Korea] When everyone's becoming a monster, humanity is the way to survive. Fast-paced. Thrilling. Heartfelt. I honestly feel like Train to Busan lacks a stronger female character, but it's interestingly very human that I'm completely captured by it. 9/10

ML [Benedict Mique, 2018, Philippines] teeming with ingenuity and masteful filmmaking, it’s a suspense too relevant for anyone to miss. 9/10

Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9/10

Sicilian Ghost Story [Fabio Grassadonia, Antonio Piazza, 2017, Italy, France, Switzerland] Cinematic and poetic. Beautiful in all its mythological symbolism. 9/10

Get Out [Jordan Peele, 2017, United States] a satire of utmost significance, it lives. 9/10

Si Chedeng at Si Apple [Rae Red, Fatrick Tabada, 2017, Philippines] Hilarious with punchlines, intelligent with comebacks. This is comedy with brain, soul, and heart. 9/10 

Happy as Lazzaro (Lazzaro Felice) [Alice Rohrwacher, 2018, Italy] a charming small film with a subtext of such vivid social allegory. 9/10

I am Not a Witch [Rungano Nyoni, 2018, United Kingdom] For a debut film, this is quite a remarkable take on exploitation, abuse, and misogyny. 9/10

A Quiet Place [John Krasinski, 2018, United States] For a film that’s supposed to be silent, I find it quite overscored. Still a good watch though. 9/10

Ang Panahon ng Halimaw [Lav Diaz, 2018, Philippines] Sarcasm at its best. Quite fun. 9/10

L'amant Double [Francois Ozon, 2018, France] Wild and mindblowing, a film of endless curiosity. 9/10

Seklusyon [Erik Matti, 2016, Philippines] a thought-provoking jewel on the corruption of divinity and an examination of people’s inner evils. 9/10

BlackKKansman [Spike Lee, 2018, United States] Although satirically exaggerated, this film is teeming with entertainment and importance. 8.5/10 

In This Corner of the World [Sunao Katabuchi, 2017, Japan] It stays. Films like this, they always do. 8.5/10

Euthanizer (Armomurhaaja} [Teemu Nikki, 2018, Finland] An examination of how suffering is commensurate with cruelty. For something so bleak, it is surprisingly a good exemplification of moral values. 8/10

Padman [R. Balki, 2018, India] Speaks volumes in a humorous way. Something enlightening and empowering, I love it. 8/10

Gutland [Govinda Van Maele, 2017, Luxembourg] For a debut feature, Van Maele is a master of slow-burn tension. 8/10

The Square [Ruben Ostland, 2017, Sweden, Denmark] An ironic and satiric take on elitism, privilege, and humanity. 8/10

A Prayer Before Dawn [Jean-Stéphane Sauvaire, 2018, France, Thailand] For something that feels hesitant in showing violence, this is already quite a tough watch. 8/10

We Need to Talk About Kevin [Lynn Ramsey, 2012, United States]

A Taxi Driver [Hun Jang, 2017, South Korea] an entertaining yet affecting tribute to nameless heroes. 8/10

Memoir of War (La Douleur) [Emmanuel Finkiel, 2017, France] Sadly, its visual choices, experimental scoring, and drawn out structure don't match Marguerite Duras's poetic writing. 8/10

The Wound (Inxeba) [John Trengove, 2017, South Africa] More than the physical wound from a boy's transition to manhood, this movie tackles a deeper kind of pain, the kind that scars forever. 8/10

Pan de Salawal [Che Espiritu, 2018, Philippines] a hard-hitting reminder that the most painful challenges people overcome are also the most rewarding. Don’t be afraid to feel them all. 8/10

The Great Buddha+ [Hsin-yao Huang, 2018, Taiwan] Not sure if saying "this is my kind of humour" is something I should be proud of but damn this film is hilarious! Oh and really clever too. 8/10 

Leave No Trace [Debra Ganik, 2018, United States] a small film of massive authenticity and warm touch. It will leave a trace. 8/10

Manila by Night [Ishmael Bernal, 1980, Philippines] a classic representation of the realities of how Manila is a witness to the city's moral lethargy. 8/10 

Coco [Lee Unkrich, 2017, United States] Understands what La La Land doesn’t – relationships shouldn’t suffer when achieving our dreams. 8/10

Don’t Breathe [Fede Alvarez, 2016, United States] Alvarez has some serious skills to make this suspenseful with only a blind villain inside a small house. 8/10  

The Other Side of the Wind [Orson Welles, 2018, United States] Not for a Welles beginner but is surely a completist's delight. 7.5/10

Felicite [Alain Gomis, 2017, Senegal, Congo, France] With such lyrical tone, its narrative was thinly sketched that some of its elements don't match. 7.5/10

Malila: The Farewell Flower [Anucha Boonyawatana, 2018, Thailand] A beguiling narration of existentialism, redemption, and the philosophy of Buddhism. All told in such calming gaze, it's actually hypnotic. 7.5/10 

Revenge [Coralie Fargeat, 2018, France] Caution: explicit cursing while watching and cheering to this. 7.5/10 

Aria [Carlo Catu, 2018, Philippines] Could have gone deeper and darker to make a more harrowing but lasting impact. It borders on the safe side, but still able to tell something important. 7.5/10

Billie & Emma [Samantha Lee, 2018, Philippines] There's magic in its production design and an amusing chemistry that would remind you of what it's like to fall in love the first time. It is everyone's teenage romance, the kind that buries heteronormativity. 7.5/10

Of Love & Law [Hikaru Toda, 2017, Japan] Questions the intricacies of Japanese culture through a collection of simple yet meaningful moments. 7.5/10 

Jurassic World: Fallen Kingdom [JA Bayona, 2018, United States]

Saving Sally [Avid Liongoren, 2016, Philippines] Is the freshest and has the most creative visual style I’ve seen in a long long time. I want more of it. 7,5/10 

One Week Friends [Masanori Murakami, 2017, Japan]  There’s a good reason for my sunken eyes right now, right? 7.5/10 

Room 8 [James Griffiths, 2013, United States] Unique and smart. Too amazed, I had to share it with everyone. 7.5/10

Isle of Dogs [Wes Anderson, 2018, United States] A quirky imagination of a simple narrative, told in a hyper-stylized artistry. 7.5/10

Black Panther [Ryan Coogler, 2018, United States]

Hintayan ng Langit [Villegas, 2018] I'm not completely sold on a couple of its elements but boy, Gina Pareño is a gem. A sparkling one.  7.5/10  

Avengers: Infinity War [Anthony and Joe Russo, 2018, United States]

The Invitation [Karyn Kusama, 2016, United States] I know a psychological thriller like this is effective when I find myself so uncomfortable, wanting to leave, cautious of being brainwashed. 7.5/10

Ready Player One [Steven Spielberg, 2018, United States] Too amusing to the point of apathy. Still entertaining though. 7.5/10

Disobedience [Sebastian Lelio, 2018, Ireland] Depicts the beauty of internal turmoils and hidden desires, it’s gripping. 7.5/10

Apostasy [Daniel Kokotajlo, 2017, United Kingdom] the more it rolls, the more I loathe religion. 7.5/10 

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10 

Meet Me in St Gallen [Irene Villamor, 2018, Philippines]

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7/10 

Eight Grade [Bo Burnham, 2018, United States] One of the most important and most natural teen movies of the year. 7/10

Cam [Daniel Goldhaber, 2018, United States] Pushing its flaws aside, this is actually quite an accomplished thriller of a possible near future. It didn't end with an impactful resolution though. 7/10

The Miseducation of Cameron Post [Desiree Akhavan, 2018, United States] Provocatively presents how emotionally abusing conversion therapy could be. 7/10

Crazy Rich Asians [Jon Chu, 2018, United States] Important and feel-good, but that's just it for me. 7/10

Distance [Perci Intalan, 2018, Philippines] a tender family drama with powerful performances of characters who choose to love no matter how wrong or right. 7/10 

Showroom [Fernando Molnar, 2014, Argentina] is a showroom of how beautiful and luxurious an artificial world could be. 7/10 

Contagion [Steven Soderbergh, 2011, United States] Believable but somehow lacking in its scare tactic. 7/10 

Zodiac [David Fincher, 2007, United States] Intelligent drama, boring thriller. Not a fan. 7/10

The Greatest Showman [Michael Gracey, 2018, United States]

Smaller and Smaller Circles [Raya Martin, 2017, Philippines] Suspense done right but there's something about its exchanges that seems unnatural. 7/10 

Pop Aye [Kirsten Tan, 2018, Thailand, Singapore] Is as slow but as heavy as its lead. 7/10

The Day After Valentine’s [Jason Paul Laxamana, 2018, Philippines] Brilliant in its canny use of language to illustrate people's tendency to miscommunicate emotions. 7/10 

Thoroughbreds [Cory Finley, 2018, United States] The kind of film that doesn't lead to what you think. It's black comedy of my liking. 7/10

Nearest and Dearest [Kseniya Zueva, 2017, Russia] displays the weakening social and moral values in contemporary Russian society. 6.5/10 

Hearts Beat Loud [Brett Haley, 2018, United States] Magical in its little ways. 6.5/10

Me Casé Con Un Boludo [Juan Taratuto, 2016, Argentina] Nothing much in here but laughter after laughter. 6.5/10

Delinquent [Kieran Valla, 2016, United States] a small-town thriller with a set location that breathes on its own. 6.5/10

Ang Babaeng Allergic sa Wifi [Jun Lana, 2018, Philippines] I thought it was just a cutesy take on appreciating moments and living life in the present, but heck no, prepare to find your tears falling. 6.5/10

Bakwit Boys [Jason Paul Laxamana, 2018, Philippines] a warm and light-hearted family drama with beautiful original songs to brag about. 6.5/10

Musmos Na Sumibol sa Gubat ng Digma [Iar Arondaing, 2018, Philippines] At times, it feels like it's trying too hard both to make a point and to sound subtle to a point that it feels a bit disconnected. 6.5 /10 

What If It Works [Romi Trower, 2018, Australia] Delightfully charming amidst the chaos of mental disorders. Works quite well. 6.5 /10

Eternity Between Seconds [Jan Alec Figuracion, 2018, Philippines] There’s comfort somewhere between the discomforts of bad acting here. 6.5 /10

Love, Simon [Greg Berlanti. 2018, United States] It’s a very familiar coming-of-age romance, but that familiarity is what made it stand out. 6.5 /10

Blockers [Kay Cannon, 2018, United States] Definitely my kind of humour. The sarcastic wit is overflowing. 6.5 /10

Alex Strangelove [CraigJohnson, 2018, United States] Nothing too new but isn't short of likeable. 6.5/10

Lobster Cop [Li Xinyun, 2018, China] Hilarious. I’d like it to be more brutal with its action scenes but it’s already otherwise quite entertaining. 6.5/10

Ant-man and the Wasp [Peyton Reed, 2018, United States] Funny as always, but I'm in love with Paul Rudd so I must be biased. 6.5/10

Kuya Wes [James Mayo, 2018, Philippines] explores the fundamental need of being appreciated in a light yet stinging narrative. I don't like a number of things, but the soundtrack works well, it's satiating. 6.5/10 

To All the Boys I've Loved Before [Susan Johnson, 2018, United States] There's substance in its shallowness, it's charming. 6.5/10

The Snow White Murder Case [Yoshihiro Nakamura, 2014, Japan] It’s a little too long to keep it entirely interesting. 6.5/10

Cardinals [Grayson Moore, Aidan Shipley, 2018, Canada] It was burning slowly until it was shot to the head. Could have been more painful if not for its loose ending. 6.5/10

Unli Life [Miko Livelo, 2018, Philippines] Not a fan of its comedic banters but I find its rare seriousness quite a gem. 6.5/10

The Cured [David Freyne, 2018, United Kingdom]

Sympathy for Mr Vengeance [Park Chan-wook, 2002, South Korea]

Berlin Syndrome [Cate Shortland, 2017, Australia, Germany] Cold and riveting with a third act that would push you to the edge. 6.5/10 

Wonder [Stephen Chbosky, 2018, United States]

12 Strong [Nicolai Fuglsig, 2018, United States] All that technical expertise and still end up saying nothing. 6/10

Goodbye, Grandpa [Yukihiro Morigaki, 2017, Japan] depicts the kind of mourning we tend to overlook and is only intensified by the bonding of family. 6/10 

Deadpool 2 [David Leitch, 2018, United States] Started off fun, ended up exhausting. 6/10

Bird Box [Susanne Bier, 2018, United States] a film with no emotional connection, no proper climax, and therefore no sensical resolution. 6/10

Madilim Ang Gabi [Adolf Alix, 2018, Philippines] seems like a show-off of stars after stars after stars playing bit roles to the point that it already feels unauthentic. 6/10 

Call Her Ganda [PJ Raval, 2018, Canada, Philippines] I'm not convinced of its storytelling, still an important one to watch though. 6/10 

A Million Happy Nows [Albert Alarr, 2017, United States] Despite the smallness of this film, it actually hits big. 6/10 

Bomba [Ralston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 6/10

Oceans 8 [Gary Ross, 2018, United States] Slow and mediocre, quite a waste of powerhouse cast. 6/10

Koxa [Ekrem Engizek, 2018, Turkey, Germany] Uninteresting for the kind of fact it exposes. 6/10

2 Cool 2 be Forgotten [Petersen Vargas, 2017, Philippines]

Beastmode [Manuel Mesina III, 2018, Philippines] ingenious and inventive but it’s not the kind I enjoy. 6/10 

Dedma Walking [Julius Alfonso, 2017, Philippines]

Can We Still Be Friends [Prime Cruz, 2017, Philippines]

The Belko Experiment [Greg McLean, 2017, United States] The experiment and the film are both pointless, but pointless sometimes is entertaining. 6/10

Hooked [Max Emerson, 2018, United States]

Sierra Burgess is a Loser [Ian Samuels, 2018, United States] I was enjoying it until its last act which felt rushed and unnatural. 5/10

Skyscraper [Rawson Marshall Thurber, 2018, United States] Plot after plot of action-packed impossibilities. 5/10

Glorious [Connie Macatuno, 2018, Philippines] Watching it is like riding a taxi cab with a clutch driver, it’s making me dizzy. 5/10

Rampage [Brad Peyton, 2018, United States] Feels like a bargain with nothing much to offer but cool CGI. 5/10

Je Ne Suis Pas Un Homme Facile [Eleonore Pourriat, 2018, France]  

Mga Mister Ni Rosario [Alpha Habon, 2018, Philippines] Entertaining but also miserably problematic. 5/10

Carrie [Kimberly Peirce, 2014, United States] Is quite an urban myth version of a school shooting. 5/10

Rough Night [Lucia Aniello, 2017, United States] Watched it on a plane, not sure if it's as fun if landed. 5/10

Bomba [Rolston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 5/10 

Avengers: Age of Ultron [Joss Whedon, 2015, United States] Boring with a capital B. 5/10

The Meg [Jon Turteltaub, 2018, United States] Mediocre. Very mediocre. 5/10

Final Score [Scott Mann, 2018, United States] It has potential but didn't quite scored a goal. 5/10

Uncle Drew [Charles Stone III, 2018, United States] I can't force myself to get comfortable watching this. 5/10

A Piece of Paradise [Patrick Alcedo, 2017, Canada, Philippines] It’s okay but there’s nothing much in there. 5/10

Happy Death Day [Christopher Landon, 2018, United States]

The Flu [Kim Sung-soo, 2013, South Korea] Stupid but fun. It's the kind of silly you enjoy. 5/10

Ali and Nino [Asif Kapadia, 2017, Azerbaijan, Georgia] Badly-acted, badly-designed production. Offers nothing much of excitement. 4/10 

Unexpectedly Yours [Cathy Garcia-Molina, Philippines, 2017] Fun at times. Corny at most. 4/10 

Forget About Nick [Margarethe von Trotta, 2017, Germany] is as if made as an example of movies that failed the Bechdel test from supposed to be feminist directors. 4/10 

I Love You, Hater [Giselle Andres, 2018, Philippines] I find its main plot gender insensitive so it’s a nope nope for me. 4/10

The Mumbai Siege: 4 Days of Terror (One Less God) [Lliam Worthington, 2018, Australia, India] That’s an annoying take on a siege that marked world history. 4/10

Life is What You Make It [Jhett Tolentino, 2018, United States, Philippines] For some reasons, I’m not sold on how it tries to inspire. 4/10 

We Will Not Die Tonight [Richard Somes, 2018, Philippines] If you're looking for brutal action and relentless stabbing where blood and sweat are like fireworks, go see it. If you're looking for sense or better fight choreographies, go somewhere else. 3/10 

Bleeding Steel [Leo Zhang, 2018, Hong Kong] Feels like switching between channels. 3/10

Citizen Jake [Mike de Leon, 2018, Philippines] Is like a collection of everything de Leon wants to try. Not effective at that. 3/10

On Again Off Again [Arsalan Shirazi, 2017, Canada, India] Undesirable characters in undesirable performances. 3/10

Jigsaw [Spirieg brothers, 2017, United States]

Tomb Raider [Roar Uthaug, 2018, United States] Impossible but fun. 3/10

Insidious (The Last Key) [Adam Robitel, 2018, United States] 

Pitch Perfect 3: Last Call Pitches [Trish Sie, 2018, United States] The worst of them all pitches. 3/10

When We First Met [Ari Sandel, 2018, United States]

Attack on Titan: Part 1 [Shinji Higuchi, 2015, Japan] Lacks character development, lacks plot continuity, it’s the movie adaptation disappointment of the decade. 3/10

Alright Now [Jamie Adams, 2018, United States] is said to be a feel-good movie but more like a feel-regretful for the time wasted watching this. 3/10

Hostel [Eli Roth, 2006, United States] Nothing here is pleasing. Not its concept, not its execution, and not even its gore. Down to the trash bin. 3/10

One More Chance [Cathy Garcia-Molina, 2007, Philippines] I’m sorry, I really can’t stand this movie. 3/10

Slumber [Jonathan Hopkins, 2018, United States] Is a snoozefest as simple as that. 3/10

In Un Giorno La Fine (The End?) [Daniele Misischia, 2018, Italy] Is funny in a bad way. 3/10

Peter Rabbit [Will Gluck, 2018, United States] RBF the entire freaking time. 3/10

You, Me and Him [ Daisy Aitkens, 2018, United Kingdom] Just one of those films that pass you by. 3/10

The Dawnseeker [Justin Price, 2018, United States] With that kind of premise, I honestly wanted it to be at least a decent watch. It isn’t. 2/10

Mara [Clive Tonge, 2018, United States] Generic. Mediocre. Forgettable. 2/10

Office Uprising [Lin Oeding, 2018, United States] Dumb. 2/10

School Service [Louie Ignacio, 2018, Phiippines] the intention is there but the concept isn’t concrete enough to be decently executed. 2/10 

The Strangers: Prey at Night [Johannes Roberts, 2018, United States] What a freaking stupid family that was. I could go on and on and on with my disgust towards this movie, but the bacon is cooked and bacon is more important. 1/10

The Matchmaker's Playbook [Tosca Musk, 2018, United States] a misogynist piece of bullcrap. 1/10

The Do-Over [Steven Brill, 2016, United States] Wow. That was boring. 1/10

Aswang [Michael Laurin, 2018, United States] a film perfect for when you can’t sleep. 1/10

The Lookout [Afi Africa, 2018, Philippines] is a joke after joke after joke, so unfunny, it deserves a laugh. 1/10 

J’ai envie de m’arrêter.

Je pensais pas qu’un jour je pourrais penser “arrête toi”. 

Pas depuis que je sais que je vais devenir médecin. D’ailleurs j’étais surpris que des gens puissent le penser. 

Puis j’ai découvert l’hôpital. Comme interne. Interne, ça dure 6 mois. Assez long pour bien en baver. Assez court pour tenir le coup et se barrer. Le souci, c’est que l’hôpital, moi, j’aime ça. J’adore. Le travail en équipe, les co internes, les chefs de toutes les spécialités, mais aussi les infirmiers/infirmières... Tout un petit monde. 

Il arrive aussi, à l’hôpital, de s’entourer de collègues sympas. De piliers quand ça va mal, des gens avec qui on prend plaisir à travailler.

Mais j’ai eu aussi à découvrir une autre facette de l’Université. Un face obscure qui présente un très joli minois. Avec tout un vocabulaire “bienveillant”, “centré sur l’apprenant”, “approche par compétences”...

Honnêtement, un joli bordel. Avant, j’avais des cours. Devant tel patient avec tel symptômes, pense à ça, à ça, puis ça. Ensuite, donne le traitement X ou Y, si ça va pas mieux passe au traitement W. Puis adresse au service A, B ou C si ça s’aggrave.

En pratique, ça marche plutôt bien. Les premières coliques néphrétiques sont contentes d’être soulagées. Les appendicites eux ont un peu peur du bloc... Rien de bien méchant pour les premiers patients que j’ai eu à prendre en charge.

Ça se passe pas si mal l’hôpital. 

Je valide tous mes stages, y compris chez le praticien de médecine générale qui me demande de venir travailler chez lui plus tard avec ses associés, tout comme 3 services où je suis passé qui me demandent de revenir. 

Je suis aux anges avec les malades. J’adore mon métier. Vraiment. Enfin, j’adorais, j’aimais, j’aimais y consacrer du temps, sortir tard parce que je suis consciencieux, non pas auprès de mon chef de service, mais auprès de mon patient. Rentrer chez moi en me disant : j’ai bien bossé.

Depuis que je suis interne, une structure pesante en médecine générale me torture l’esprit. Je parle bien de mon DMG. Tout ce que je vous dis et qui contribue à mon épanouissement professionnel est tabou.

Je vais pas m’appesantir là dessus. J’ignore quelle est la nature de leur galimatias improbable : Balint, Calgary Cambridge, Cairn, la charte des questionnaires (google) de thèse, la revue Exercer... et leur pendant pratique : le RSCA, le portfolio, la “marguerite”...

Pour ceux qui me lisent, ils le savent : j’emmerde tous ces concepts. Je les emmerde grave. Ils me gavent. Ce n’est pas de la médecine mais des “sciences humaines” de comptoir. J’emmerde la marguerite. Enfin, j’emmerde l’approche par compétences. S’il n’existe pas d’objectifs pédagogiques clairs en médecine générale alors la médecine générale n’est pas une discipline (mais bien une addition d’autres disciplines appliquées au milieu “ambulatoire”).

J’emmerde le carré de White qui m’empêche de faire une thèse sur une pathologie qui m’intéresse, j’emmerde le portfolio des ESI qui les fout au 2/3 en déprime chronique. 

Des compétences ? De l’expérience ? J’en ai.

Je peux tenir une conversation en 4 langues, j’ai vécu au milieu de maliens, comoriens, algériens, portugais, sénégalais, dans le département le plus pauvre de France, dans un logement insalubre de cafards dans les chiottes communes et de rats entre deux tentes de roms sur le périph’ le matin en allant à la fac. J’ai moi même été pauvre. Très pauvre. J’ai vécu la privation dans tous les sens. J’ai vécu la maladie, la mienne, celle de mes proches, la mort d’un parent proche, j’ai vu les balles siffler en Algérie, et les coupeurs de gorge à chaque virage, à chaque barrage. J’ai été précaire, à la limite de vivre à la rue, j’ai soutenu ma famille, mes frangins, je donnais à la maison. J’ai été manutentionnaire, dans le bâtiment, aide soignant, infirmier, brancardier, standardiste d’hôpital, j’ai donné des cours gratuits de français aux réfugiés. J’ai appris le français à ma propre mère...

Et puis j’ai bossé, j’en ai bavé, de la médecine, j’en ai pas perdu une goutte, j’ai aimé la médecine à me décarcasser pour devenir interne. C’était un rêve de gosse. Une vocation. Un plaisir aux urgences malgré la fatigue et les gardes qui n’en finissent pas, des sorties SMUR passionnantes et stressantes. Des maîtres passionnés qui m’ont appris à parler au malade, à l’examiner, à respecter sa pudeur... Bien avant qu’un portfolio ne vienne me juger. 

Alors, j’emmerde le portfolio.

Et, à la fin, je me retrouve privé d’une année d’internat, invalidé en raison d’un portfolio qu’on surveille tous les 6 mois comme un cancer. Un cancer que je n’ai pas assez nourri car je ne suis pas rentré dans le moule de “raconte tes émotions à une tripotée d’inconnus” qui ne connaissent mon prénom que via le petit bout de papier que je mets en début de table. 4 heures durant. Tous les mois. Avec devoirs à la maison.

Tous les 6 mois, tous les ans, quelques internes en moins dans la promotion.

De la recherche aussi... Quand t’as fini de chercher : devoir maison --> pourquoi tu as cherché ce sujet ? Pourquoi as tu choisi ce que tu as cherché ? Non ce n’est pas bien. Recommence. Recommence. Non, recommence, ne met pas box des urgences, tes patients ne sont pas des animaux. Recommence. Recommence. Recommence...

Des inconnus m’ont privé d’une année en raison de ce que je dis. En raison de ce que je pense. En raison de mes critiques. Et me font recommencer. Encore et encore. Encore et encore...

Je n’ai plus d’énergie à donner. Chaque passage à la fac s’accompagne d’un boule au ventre que je n’avais plus ressenti depuis l’ECN. Chaque ouverture de ma boîte mail me donne des embardées de tachycardie incontrôlable. 

J’ai moi aussi envie de raccrocher. Mon combat est perdu d’avance. Je suis dans le collimateur d’une part, et, d’autre part, incapable de rendre des travaux vides de sens...

Je n’en peux définitivement plus... 

for the books and you ask meme: J, X, Y ^_^

Ange, sorry for the super late response, my notifications decided to fall asleep and I only realised you sent my this late this morning :/

J: Favorite woman writer? 

Mexican writer Josefina Vicens. She was a prolific screenwriter but penned only two short novels: The Empty Book and The False Years (both available in English I think). You know how Kafka said that we should only read books that wound us? The Empty Book is a big wound for me. It’s about a middle-age office worker who’s always had the urge to write, to be a writer, but feels his life is too mediocre and he has no words worthy of a book. The False Years is about a teenage kid who has his life stolen away from him when his father dies and he’s expected to step into his shoes and pretty much become him.

In a more international sense, I love Marguerite Yourcenar. I’ll confess I have read only a handful of her books but her Coup de Grâce was life changing, I know I’ve ranted about it before but it’s an awesome book that plays around with gender roles, gender stereotypes (I first read it for a femenine writing class) and packs a hell of a final punch.

X: What book has your favorite cover art?

I delight in horrendous covers of Dorian Gray.

Y: Do you have a favorite quote?

You can pick almost any Oscar Wilde quote (not the witticisms tho) and slay me with it. This one from Salomé kills me every time:

“ If thou hadst seen me thou wouldst have loved me. I saw thee, Jokannan, and I loved thee. Oh, how I loved thee! I loved thee yet, Jokanaan, I love thee only… I am athirst for thy beauty; I am hungry for thy body; and neither wine nor fruits can appease my desire. What shall I do now, Jokanaan? Neither the floods nor the great waters can quench my passion. I was a princess, and thou didst scorn me. I was a virgin, and thou didst take my virginity from me. I was chaste, and thou didst fill my veins with fire… Ah! ah! wherefore didst thou not look at me, Jokannan? If thou hadst looked at me thou hadst loved me. ”

Kinahihiligang Libro

Kakatapos ko lang basahin ang Book 2 ng Firebird Series na pinamagatang Ten Thousand Skies Above You ni Claudia Gray. Nirerekomenda ko sa inyo na basahin ang series na ito dahil sa nakakawiling kwento. Ito ay tungkol sa pagpunta sa ibang dimensyon gamit ang isang makina. Ang bida ay sina Marguerite Caine, Theo Beck at si Paul Markov. Plano ko nga na bumili ng Book 3 pero ito ang sinabi ng mama ko, “Bibili ka nanaman ng libro? Mas mabuti pang mag-ipon ka nalang o kaya ibili mo ng pagkain.” Iyan ang palagi kong naririning sa kanya (nakakabingi na nga eh hahaha).

“Bakit ang hilig mong magbasa? Di ka ba napapagod? Ang kapal naman nyan, matatapos mo ba yang basahin?” Isa sa mga tinatanong ng mga kaibigan ko. Ang libro ay para sa mga mahihilig magbasa ito ay isang nakakaadik na gawain na may nakakaadik ring amoy ng mga pahina. Yung kapag nasa maganda kanang eksena sa kwento ay hindi mo na matigilan ang pagbabasa at tatangkilikin mo talaga ang bawat pangyayari. Yung pakiramdam na parang ikaw ang bida sa libro at may mga kontrabida namang kaiinisan mo at pinapatay mo na sa iyong isipan. May mga bagong bokabularyo o malalamin na mga salita ka na matututunan at mapapagana ng bonggang bongga ang iyong imahinasyon.Ang pagbabasa rin ay isang pampalipas oras ng mga taong mahilig magbasa kapag walang ginagawa o kaya nakakabagot ang araw .

Kada libro ay may mga magandang aral na ating makukuha, pero kada librong binabasa mo rin ay may perang nawawaldas. Pero kahit ganon pa man, para sa akin kada libro mapamahal o mapamura ay isang gintong napakahalaga sa akin, kaakibat ay karagdagang kaalaman o karunungan na hinding hindi matutumbasan ng pera.

sometime I really should shortlist the narratives I imprinted on & explain just what exactly child me got out of them (...well. maybe not all of them exactly because uh)

so far I have

the bible esp. the old testament esp. judges, samuel, daniel, zechariah

apocryphal myth about how peter died + foxe’s book of martyrs (i understand that some kids had playboys they found in their parent’s room? i had foxe’s book of martyrs yikes)

saint george and the dragon illustrated by trina schart hyman

the version of the king and his hawk that’s in the children’s book of virtues

merlin and the dragons by jane yolen

king arthur and his knights of the round table by roger lancelyn green

ALL retellings of gawain and the green knight i could POSSIBLY find

all iterations of robin hood. all. disney furry robin hood, michael morpurgo robin hood, all the classic robin hoods, ivanhoe,,,

the door in the wall by marguerite de angeli

black ships before troy illustrated by alan lee

the black stallion + the black stallion returns + the black stallion’s filly + son of the black stallion (holy fuck*) by walter farley

the mare on the hill by thomas locker + all the places to love by patricia maclachlan (picture books I read very young that I think strongly influence the way I write/interpret “happy” or generally peaceful scenes)

black beauty by anna sewell + beautiful joe by ??? + justin morgan had a horse by marguerite henry

chronicles of narnia esp. the horse and his boy & the silver chair**

the year the wolves came by bebe faas rice :(((((( but also gave me the creeps I loved it

time trilogy by l’engle, esp. a swiftly tilting planet

into the land of the unicorns + song of the wanderer by bruce coville + both of his unicorn anthologies like damn

warrior cats original arc by erin hunter

the scarlet pimpernel by baroness whatsherface unfortunately-imperialist orczy (extremely amazing canon romance in the first book, made middle school me begin to understand for the first time why ppl liked romance)

*of special mention bc seven year old me had a... reaction... to a... just objectively morally awful scene in this book

**an oft overlooked scene in this book had a Similar effect on me. did kid me care about the bondage? nah. the potential voring? nope. the sexy evil green lady? only a little. oh no guys my tastes were even more discriminating than that

Mishima, un “kamikaze alla caccia del bello”: uomo vinto dalla Storia o enigma letterario invincibile?

Atto II – La decadenza, l’americanizzazione e la forma ellenica

In questo atto secondo del mio personale viaggio estetico e psicologico nell’universo letterario di Mishima, voglio prendere di petto un paio di termini-concetto che, sempre su “Pangea”, ho trattato di recente parlando di due scrittori francesi, Pierre Drieu La Rochelle e Jean Cau. Quest’ultimo perfettamente coetaneo del giapponese, essendo entrambi nati nel 1925. È così che vado rapidamente a trattare i temi della decadenza e dell’americanizzazione, più in generale della colonizzazione culturale.

Scrive Mishima nel suo romanzo La decomposizione dell’angelo, ultimo atto della tetralogia Il mare della fertilità, completato il giorno stesso in cui si suicidò: «La vecchiaia è di per sé una malattia della carne e dello spirito, e il fatto che sia incurabile significa che l’esistenza stessa è una malattia incurabile. È una malattia slegata dalle teorie esistenzialistiche, perché la carne stessa rappresenta un’affezione, una morte latente. Se la causa della decadenza è la malattia, allora la causa fondamentale di essa, la carne, è una malattia. L’essenza della carne è la decadenza. La funzione della carne, collocata nel trascorrere del tempo, è quella di testimoniare la distruzione e la decadenza».

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Ten’nin gosui (天人五衰), il titolo originale del quarto capitolo della tetralogia, significa letteralmente «i cinque gradi della decadenza dell’angelo». Secondo l’angelologia mutuata dalle sacre scritture buddhiste cinque sono infatti gli stadi di progressiva decomposizione che preludono alla morte di un angelo. Si badi bene: nel buddhismo gli angeli muoiono. Cinque sono appunto i passaggi obbligati del loro avvicinamento alla fine: i fiori che compongono la ghirlanda posta sul capo dell’angelo appassiscono e poi cadono; un’abbondante sudorazione delle ascelle; la veste diafana si insudicia; perdita dell’autocoscienza o della gioia di esistere; il corpo diventa fetido o cessa di essere luminoso e le palpebre cominciano a tremolare. Decadimento, sfaldamento, il puro che s’insozza: tutto questo attraversa il corpo del protagonista del romanzo, che oscilla tra la mimesi e la parodia di una creatura angelica. Siamo tutti angeli decaduti o la maggior parte di noi è soltanto la loro ridicola imitazione, un patetico tentativo di emulazione che sin dagli inizi non può vantare nemmeno un granello di purezza?

Dunque la carne e l’anima, la via del corpo e la via dello spirito. Una negazione esterna che contiene un’affermazione interna. Imperituri dentro un’armatura destinata a deperire, questo siamo. Mishima vedeva una strettissima analogia tra la decadenza del Giappone del secondo dopoguerra e la decomposizione degli angeli della tradizione buddhista (che appunto decadono e muoiono). Il disfacimento di una civiltà millenaria corrotta e corrosa da una malintesa idea di sviluppo. «Dobbiamo morire per restituire al Giappone il suo vero volto! È bene avere così cara la vita da lasciare morire lo spirito?», proclamerà, fra l’altro, nel discorso tenuto dal balcone della caserma prima di compiere il suicidio rituale. La ricerca di una ricomposizione tra corpo e spirito è tema mishimiano su cui tornerò prossimamente.

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Per affrontare il secondo tema riavvolgo il nastro e torno ad un Mishima che ha tra i ventisei e i ventisette anni. La scoperta di sé e della propria terra madre attraverso il riflesso che gli rimandano i simulacri dell’Occidente, sia Nuovo Mondo che Vecchia Europa: questo è il senso del viaggio compiuto da Mishima in Nordamerica, Brasile ed Europa tra 1951 e 1952. Giovanissimo, è già famoso in patria grazie alla pubblicazione nel 1949 delle sue Confessioni di una maschera. Alla vigilia di Natale del 1951 si accinge a partire per il suo primo viaggio all’estero con il fermo proposito di eccitare la propria curiosità intellettuale. Ne verrà fuori un diario, tradotto in Italia col titolo La coppa di Apollo (1993). L’impatto iniziale per il lettore è deludente, va detto. Le pagine scorrono via, una dopo l’altra, insipide e monotone.

Cos’è che non funziona? Credo si celi in queste annotazioni diaristiche un tratto troppo costruito della personalità dello scrittore giapponese. Egli indugia nella descrizione minuta delle immagini che gli scorrono davanti, ma, al di là dei proclami iniziali, non sperpera più di tanto la sua acuta sensibilità. È come trattenuto. Si ha netta l’impressione di un esercizio forzatamente autoimposto, nell’ossessiva ricerca della miglior forma di espressione delle sensazioni ed inquietudini che, fitte e violente, lo assalivano ogni giorno.

*

Il dandysmo mishimiano nasce con la sua infanzia negata, allevato da una nonna severa, che letteralmente sottrae alla figlia il nipote quarantanove giorni dopo la nascita e lo educa in una dimensione rigida e claustrofobica. A proposito della nonna Marguerite Yourcenar ha scritto nel suo celebre ritratto Mishima o La visione del vuoto (1980): «tutto un Giappone antico, ma già in parte dimenticato, sopravvive in lei sotto forma di una figura malaticcia, un po’ isterica, soggetta a reumatismi e a nevralgia cranica». Alla madre sarà permesso visitarlo solo ogni quattro ore e per il tempo appena necessario all’allattamento. Così fino all’età di nove anni circa. Fatale l’impronta di quella nonna austera, che lo aveva educato alla letteratura classica giapponese e alle forme del teatro tradizionale Nō e Kabuki. Sempre la Yourcenar ebbe a scrivere di lei: «questa fata folle gli ha certo trasmesso quel grano di pazzia giudicato un tempo necessario al genio, in ogni caso gli ha procurato quell’esperienza retrospettiva di due generazioni, a volte anche più, che possiede un bambino che è cresciuto vicino a una persona anziana». E aggiunse, concludendo: «A quel contatto precoce con un’anima e una carne malate egli dovette forse, prezioso insegnamento, la sua prima impressione dell’estraneità delle cose. Ma, soprattutto, gli valse l’esperienza d’essere gelosamente e follemente amato, e di corrispondere a quel grande amore». Avevo un’innamorata di sessant’anni, sentenziò Mishima: un inizio simile è tutto tempo guadagnato, commentò Yourcenar.  

*

È pertanto di una fattura speciale il suo dandysmo. Se questo è sinonimo di impassibilità e nemico del sentimentalismo secondo il canone statuito in Occidente da Charles Baudelaire, la versione di Mishima ne stabilisce un’originale, inimitabile simbiosi con il buddismo del bonzo Nichiren (1222-1282), per il quale «bisogna cambiare nell’uomo la struttura dei desideri», sottoporre lo spirito ad un continuo rimodellamento, educarlo. Sempre Baudelaire sottolineava come ciò che è naturale è abominevole, perché volgare. Piacevole il ritratto che Mishima fa delle Hawaii, dove il paesaggio si è trasformato a immagine e somiglianza della pubblicità turistica ma la vita quotidiana non si è ancora del tutto piegata ai modelli di vita stranieri. Ciò grazie all’ozio, quell’«arte peculiare dei tropici di saper stare senza far niente», che avrebbe assicurato alle isole un futuro non soggetto all’ansia della società americana. E nonostante tutto già s’intravede affiorare tra i giovani il germe dell’inquietudine da nichilismo, minaccia per quell’equilibrio che è frutto di un rapporto naturale con i propri simili e con l’ambiente in cui si è immersi. Una vita ritmata dal tempo ciclico della natura. Armonia che manca negli Stati Uniti, mentre nell’arcipelago delle Hawaii non è stata perduta l’«antica unione emotiva tra la natura di un territorio e la storia di un popolo», che, a giudizio di Mishima, sola può dare identità ad una nazione, vita ad una civiltà.

Perché manca un tale legame? «La natura degli Stati Uniti non è innata ma acquisita. La natura di questo paese dipende in tutti i sensi dal fatto che non era destinata a chi lo abita». Detto ciò, Mishima non dimentica che la forza del dominatore si giova della debolezza del dominato e se la colonizzazione culturale avanza è perché il popolo dominato non è neppure in grado di infiltrare «subdolamente» i propri costumi, di inculturare l’aggressore con proprie usanze e tradizioni, azione che, come ricordava David Hume in un suo scritto giovanile tradotto in Italia da Spartaco Pupo, i romani seppero compiere egregiamente nei confronti dei loro invasori barbari. Anche in modo parzialmente involontario e impercettibile, senza dubbio; surrettiziamente ma con perdurante efficacia. E così continua la riflessione di Mishima, al contempo ironica e seria: «L’americanizzazione di altri paesi non è certo solo espressione delle buone intenzioni degli americani».

*

L’anima del giovane esteta è però destinata a risvegliarsi una volta giunto in Grecia. È qui che ritroviamo il Mishima che tutti conoscono, «kamikaze alla caccia del bello». Se Parigi gli è apparsa come una crepuscolare città immersa in una grigia primavera, non può che, entusiasta, dichiarare: «la Grecia è la terra che amo», perché nell’arte e nell’estetica elleniche trova conferme decisive di quella che è la propria concezione della bellezza. Quest’ultima, unica ed immutabile, «la si ottiene soltanto con un’azione», consapevoli del fatto che «la creazione nasce spesso da un presentimento di distruzione». Emerse, a suo tempo, in terra greca una concezione dell’arte come via che assicura e conferma circa l’immortalità dell’anima. I greci si illusero – dovettero illudersi, avrebbe detto Nietzsche – di poter ricomporre la vita, vincendo le leggi della natura che decretano la caducità di ogni cosa. Sarebbe proprio vero quanto affermato da Paul Valéry: «l’ordine è un grandioso progetto contro natura», a cui l’uomo, in passato, ha sempre teso. Viene da chiedersi – a Mishima allora, a noi oggi – se un tale progetto sia stato oramai abbandonato. L’ordine in nome del bello, del vero e del bene.

È forse ancora nietzscheano, Mishima, quando rileva la «grandiosità» dell’idea greca dell’esteriorità, per cui non vi sarebbe conflitto né divisione tra anima e corpo. Nell’Ellade non si sentiva ancora la fatica per il fardello dello «spirito» che il cristianesimo avrebbe imposto ad un uomo che, scrive il giapponese, «non ne sentiva la mancanza e viveva con orgoglio». La culla della civiltà classica trasmette soprattutto al giovane scrittore giapponese un aspetto essenziale dell’arte intesa come messa in forma della bellezza al fine di renderla comunicabile senza stravolgerla e svergognarla: la solennità, che, a sua volta, ha a che fare con la dimensione sacra e la tensione alla trascendenza che della bellezza sono due connotati imprescindibili. L’arte veicola bellezza facendosi solenne. La cerimonia, il rito e il sacrificio consentono di contenere il grandioso nel piccolo e minuto; attuano l’incantesimo grazie al quale è dato assistere allo spettacolo dell’eterno racchiuso in un istante.

*

Tra il 1957 e il 1958 Mishima avrebbe compiuto un altro viaggio in Occidente. Si recò infatti ad Haiti, alla ricerca di un autentico rito vudù. Poi andò a New York, dove si abbandonò alla vita frenetica della grande metropoli americana. Note di viaggio sono riservate anche a Venezia, «la rappresentazione più chiara della decadenza», irrimediabile eppure infinita. Una vecchia aristocratica, dagli abiti un tempo sontuosi ora laceri ed ammuffiti, che però «sta morendo in piedi». A Hong Kong, infine, s’imbatté nel Tiger Balm Garden, uno dei primi parchi a tema che era stato aperto al pubblico proprio agli inizi degli anni Cinquanta. Lì Mishima dovette confrontarsi con l’antitesi della bellezza, con la sua negazione, dovuta al fatto che in architettura come altrove il realismo totale, riprodotto mimeticamente fino all’eccesso del dettaglio, è incapace di librarsi di un palmo da terra. Invece, anche ai fini di una semplice rigenerazione urbana, la vera arte è sempre e solo trasfigurazione, incessante ripensamento della tradizione, con cui ingaggiare lotte furibonde che non sradicano ma rigenerano le antiche sorgenti della bellezza. Infatti al termine di questi suoi viaggi all’estero Mishima si chiede sempre, pensando ai propri connazionali: come può sfuggire alla decadenza un popolo per cui «le cose nuove sono sempre buone»?

Poggiando i piedi su rami tagliati non si scruta l’orizzonte, si precipita. (Fine Atto II)

Danilo Breschi

Il “primo atto” dello studio di Danilo Breschi dedicato a Yukio Mishima è pubblicato qui

L'articolo Mishima, un “kamikaze alla caccia del bello”: uomo vinto dalla Storia o enigma letterario invincibile? proviene da Pangea.

from pangea.news https://ift.tt/3g7waWi

Loki: Owen Wilson nel cast della serie Disney+

Nuovo post su italianaradio https://www.italianaradio.it/index.php/loki-owen-wilson-nel-cast-della-serie-disney/

Loki: Owen Wilson nel cast della serie Disney+

Loki: Owen Wilson nel cast della serie Disney+

Loki: Owen Wilson nel cast della serie Disney+

Inizia a prendere forma il cast di Loki, la serie Marvel destinata al servizio di streaming Disney+ che vedrà Tom Hiddleston ancora una volta nei panni del Dio dell’Inganno. Come riportato da Deadline, infatti, Owen Wilson (Zoolander, Io & Marley) si è unito ufficialmente al progetto: naturalmente, i dettagli sul ruolo che l’attore statunitense andrà a ricoprire non sono stati rivelati.

In attesa di scoprire per quale personaggio è stato ingaggiato Wilson (potrebbe trattarsi tanto di un personaggio dei fumetti quanto di uno creato appositamente per lo show), di recente abbiamo appreso che Loki potrebbe introdurre il primo personaggio transgender dell’Universo Cinematografico Marvel. Nella serie, infatti, dovrebbe fare la sua apparizione il personaggio di Sera, creato da Kieron Gillen, Marguerite Bennett e Phil Jimenez.

La produzione sarebbe alla ricerca di un attore (uomo o donna), di età compresa tra i 20 e i 40 anni, per interpretare un personaggio molto forte in tutti e 6 gli episodi dello show, con possibilità di ritorno per un’eventuale seconda stagione. Nei fumetti Sera è parte di un gruppo di personaggi maschili, degli angeli senza ali noti come gli Anchorite. Successivamente, Sera venne identificata come femmina, diventando il primo (e ad oggi unico) grande personaggio femminile transgender nei fumetti Marvel.

LEGGI ANCHE – Loki: 5 nuovi personaggi che vorremmo vedere nella serie

A quanto pare gli episodi dello show televisivo riempiranno quegli spazi lasciati vuoti tra la fine di Infinity War – dove avevamo visto Loki morire per mano di Thanos – e Endgame, dove il personaggio è apparso nel 2012 nel corso dei viaggi nel tempo dei Vendicatori.

“Negli anni trascorsi da Avengers: Infinity War e Avengers: Endgame sono state poste due domande: Loki è davvero morto? E cosa farà con il cubo cosmico, ovvero il Tesseract? Ecco, la serie risponderà a entrambe le domande“, ha dichiarato Hiddleston in un’intervista.

Ricordiamo che la serie verrà sviluppata dallo showrunner e sceneggiatore di Rick and Morty, Michael Waldron, ingaggiato dai Marvel Studios per scrivere il primo episodio figurando anche come produttore esecutivo.

Creato da Stan Lee, Jack Kirby e Larry Lieber, Loki è uno dei personaggi ricorrenti all’interno dell’universo cinematografico Marvel ed è apparso in ben sei cinecomic dei Marvel Studios. Noto come “Il Dio dell’Inganno“, è stato fra i primi villain davvero apprezzati dai fan grazie soprattutto all’egregia interpretazione a tinte shakespeariane di Tom Hiddleston, l’attore che ne veste i panni da Thor (2011).

Cinefilos.it – Da chi il cinema lo ama.

Loki: Owen Wilson nel cast della serie Disney+

Inizia a prendere forma il cast di Loki, la serie Marvel destinata al servizio di streaming Disney+ che vedrà Tom Hiddleston ancora una volta nei panni del Dio dell’Inganno. Come riportato da Deadline, infatti, Owen Wilson (Zoolander, Io & Marley) si è unito ufficialmente al progetto: naturalmente, i dettagli sul ruolo che l’attore statunitense andrà […]

Cinefilos.it – Da chi il cinema lo ama.

Stefano Terracina

Nghe lại bản gốc tuyệt đẹp: Triệu triệu đóa hồng trong ca khúc lừng danh cùng tên là câu chuyện hoàn toàn có thật!

Nghe lại bản gốc tuyệt đẹp là loạt bài qua đó chuyên mục Nghệ Thuật của Đại Kỷ Nguyên trân trọng dành tặng quý độc giả những ca khúc gốc bất hủ của các phiên bản tiếng Việt mà khán giả Việt Nam vốn say mê, nhưng có thể chưa biết đến sự hiện diện của những bản gốc lộng lẫy và câu chuyện lịch sử đầy xúc động xung quanh của chúng… Chúc quý độc giả những giây phút thưởng thức đầy thú vị và thăng hoa…

Có độc giả đã viết cho Đại Kỷ Nguyên khi đến với loạt bài Nghe lại bản gốc tuyệt đẹp, rằng:

“Đến ngày hôm nay, thế giới lại gần được nhau hơn, thì chúng ta phải cảm ơn tầm quan trọng và sức lôi cuốn của Âm nhạc, mà bất cứ một dân tộc nào đều có thể, qua những nhạc phẩm bất hủ của mình, mang mọi người lại gần nhau, hòa cùng một trái tim, dù ở góc phố nào trên thế giới”.

Có một ca khúc nhạc Nga làm say đắm biết bao con tim, ca khúc được coi là bản tình ca nồng nàn, là lời yêu và tấm chân tình của đấng mày râu khi yêu. Ca khúc có tựa đề Triệu triệu đóa hồng, một khúc nhạc tình bất hủ, được nhiều người trên thế giới đồng cảm và đón nhận. Nhưng ít ai ngờ rằng câu chuyện trong bài hát về chàng họa sĩ nghèo bán hết cả gia tài để mua một biển hoa hồng dâng tặng người ca sĩ lại là câu chuyện hoàn toàn có thật. 

[videoplayer link="https://video3.dkn.tv/trieu-doa-hong-cau-chuyen-tinh-yeu-bat-hu_2947a11d8.html"]

Triệu bông hồng, hay còn được gọi với các tên: Triệu đóa hồng, Triệu triệu đóa hồng, Triệu đóa hoa hồng, Triệu bông hồng thắm, Triệu đóa hồng thắm là tên một ca khúc của Latvia Raimond Voldemarovich Pauls, phổ nhạc từ bài thơ cùng tên của nhà thơ Nga Andrey Andreyevich Voznesensky. Bài thơ và bài hát đều dựa theo một câu chuyện trong quyển thứ năm "Бросок на юг" (Ném về phương nam) thuộc tiểu thuyết "Повесть о жизни" (Tiểu thuyết cuộc đời) của nhà văn K. G. Paustovsky viết năm 1960 về chuyện tình của danh họa người Gruzia Niko Pirosmani (1862 - 1918) với nữ ca sĩ người Pháp Marguerite tại Tblisi.

Ít ai biết câu chuyện tặng hoa hồng lãng mạn nhất thế giới này trong bài hát lại hoàn toàn có thật: Chàng họa sĩ nghèo người Gruzia (thuộc Liên Bang Nga), Niko Pirosmani, đã bán cả gia tài của mình để mua 1 quảng trường hoa đặt trước khách sạn nơi cô ca sĩ người Pháp mà chàng hâm mộ đang lưu trú, để rồi, nàng đã tặng cho chàng một nụ hôn duy nhất trong đời vào sớm hôm sau trước khi nàng rời đi. 

Và lời hát cũng là câu chuyện đời thật của chàng họa sĩ nghèo có những câu kết vô cùng xúc động: 

Họa sĩ vẫn sống một mình Vất vả và đau đớn Nhưng trong đời anh từng có một quảng trường đầy hoa.

Từ khung cửa sổ em có thấy? Người đang yêu, người yêu em thật lòng Người đã biến cả cuộc sống của mình thành hoa để tặng em!

[caption id="attachment_748567" align="aligncenter" width="700"] (Ảnh: Featurepics.com)[/caption]

Với tiết tấu nhanh, giai điệu sôi động nhưng phảng phất là nỗi buồn sâu thẳm. Ca khúc đã được coi là tiếng lòng của tấm chân tình khi yêu của đấng nam nhân.

Triệu đóa hồng được thể hiện bằng giọng ca truyền cảm của ca sĩ Alla Pugachyova. Bản nhạc được truyền thể sang rất nhiều thứ tiếng. Với giai điệu đầy say mê, nó truyền tải cho người nghe sự lãng mạn và sự nuối tiếc của một mối tình đơn phương trong sáng tuyệt đẹp.

Tại Nhật Bản, bài hát này nổi tiếng và phổ biến đến mức được người dân nơi đây đều cho là "biểu tượng của tình ca" và nó có mặt trong tất cả các phòng hát karaoke nơi đây.

Ở Việt Nam bài hát cũng rất được ưa chuộng từ nhiều thập kỷ, và ca sĩ thể hiện thành công là ca sĩ Ái Vân, Hồng Nhung. 

Câu chuyện về tình yêu đơn phương nồng nàn mãnh liệt của chàng họa sĩ nghèo

Một vị thần tình yêu đã đem yêu thương gieo trên mảnh đất nhân gian thì cũng dùng một loài hoa làm biểu tượng cho tình yêu ấy. Đó chính là hoa hồng. Một loài hoa tượng trưng cho sự nồng nàn lãng mạn khi yêu.

Có biết bao ca khúc lấy đề tài đóa hồng để vinh danh cho tình yêu, trong số đó, Triệu triệu đóa hồng có lẽ là ca khúc được ưa thích nhất.

Điều gì tạo lên sức mạnh và sức sống kỳ diệu của nhạc khúc này? Có lẽ nếu đó là một câu chuyện hư cấu, nó đã không thể có sức sống mãnh liệt đến thế từ nhiều thập kỷ nay.

Chính sức mạnh của nỗi buồn có thật, sự mãnh liệt có thật của câu chuyện tình lãng mạn, đẹp buồn như mơ ấy đã mang trong nó sức lay động lớn bởi năng lượng khổng lồ từ tấm chân tình mộc mạc vô cùng chân thành của chàng họa sĩ nghèo.

Chàng họa sĩ Niko đã làm rất nhiều việc khác nhau với mơ ước có thể chinh phục được trái tim của người đẹp Marguerite, nhưng tất cả đều không thành công. Thế rồi một hôm nọ, quảng trường trước cổng khách sạn cô ca sĩ tá túc bỗng trở thành một vườn hồng rực rỡ với hàng triệu bông hoa. 

Sau khi thấy cảnh tượng đó, Marguerite đã đến nhà của Pirosmani và tặng cho anh một nụ hôn. Nhưng đó cũng là nụ hôn duy nhất mà Niko Pirosmani nhận được từ người tình trong mộng, vì không lâu sau đó chuyến lưu diễn của Marguerite kết thúc và cô phải rời Tblisi.

Từ đó hai người không còn gặp nhau nữa. Còn người họa sĩ si tình Pirosmani thì gánh lấy một khoản nợ khổng lồ cho "triệu bông hồng" mà ông tặng cho Marguerite.

Lời bài hát:

Một chuyện tình yêu anh hoạ sĩ Gửi trong tranh vẽ những vui buồn Lòng anh thầm yêu nàng ca sĩ Cô gái rất yêu bông hoa hồng.

[caption id="attachment_748618" align="aligncenter" width="700"] (Ảnh: Pinterest)[/caption]

Lời Việt dịch từ nguyên gốc:

Có anh họa sĩ sống một mình Chỉ có một ngôi nhà nhỏ và những bức tranh Anh mê đắm nàng ca sĩ yêu hoa. Họa sĩ bán ngôi nhà của mình

Bán luôn những bức tranh Rồi dùng trọn số tiền mua cả biển hoa.

[caption id="attachment_748636" align="aligncenter" width="700"] (Ảnh: Twitter)[/caption]

Triệu, triệu, triệu bông hồng đỏ Từ khung cửa sổ em có thấy Người đang yêu, người yêu em thật lòng Người đã biến cả cuộc sống của mình thành hoa để tặng em.

Buổi sáng khi em thức dậy đến bên khung cửa Có lẽ em không ngờ tới Ngỡ mình đang trong mơ Quảng trường nhà em hoa lấp đầy.

Lòng em bối rối Triệu phú nào làm một cách lạ lùng vậy? Nhưng bên dưới cửa sổ chỉ có một hơi thở lẻ loi Anh họa sĩ nghèo đứng đó.

Cuộc gặp gỡ thật ngắn ngủi Chuyến tàu đêm mang nàng đi Nhưng trong đời nàng có bài hát điên rồ về hoa hồng.

Họa sĩ vẫn sống một mình Vất vả và đau đớn Nhưng trong đời anh từng có một quảng trường đầy hoa.

[caption id="attachment_748622" align="aligncenter" width="700"] (Ảnh: NDH.vn)[/caption]

Triệu, triệu, triệu bông hồng đỏ Từ khung cửa sổ em có thấy Người đang yêu, người yêu em thật lòng Người đã biến cả cuộc sống của mình thành hoa để tặng em. 

Người đã biến cả cuộc sống của mình thành hoa để tặng em

Muốn làm đẹp lòng nàng, ai có thể như chàng, bán tất cả những gì mình có, nhà cửa, giá vẽ cùng những bức tranh mà chàng yêu thích nhất để đổi lấy một biển hoa hồng trải trước của sổ nhà cô và ôm ấp một hi vọng, triệu đóa hoa kia sẽ thay chàng ngỏ lời yêu và nói lên mối tình nén chặt trong lòng của mình?

Nhưng rồi chuyến hành trình cuộc đời cô lại phải đặt chân lên chuyến tàu để rồi ra đi bỏ lại tấm chân tình và nỗi lòng nhớ nhung khắc khoải của anh họa sĩ si tình. Chàng họa sĩ vẫn sống một cuộc đời nghèo khó cô độc bần hàn, nhưng đổi lại chàng đã có một khoảnh khắc được cháy hết mình vì tình yêu chân thành của mình mà có lẽ với chàng đó là niềm hạnh phúc to lớn mà chàng sẽ mang theo trong những năm tháng còn lại của cuộc đời.

Hình ảnh người mình yêu với nụ cười tỏa nắng với sắc hồng phản chiếu của triệu đóa hồng là những gì mà với chàng họa sĩ nghèo, nó sẽ là khoảnh khắc trong đời mà chàng khó có thể quên.

Anh hạnh phúc khi được nhìn người mình yêu ngất ngây khi nhìn thấy một rừng hoa hồng đầy ắp. 

Quả thật không sai khi người ta ví đây là một bản tình ca tượng trưng cho tình yêu của một đấng mày râu. Khi đã yêu là yêu hết lòng, yêu bằng cả tấm chân tình và dám đánh đổi tất cả những gì mình có cho người mà mình yêu thương. Cao hơn đó chính là sự hi sinh và lòng cao thượng dành cho tình yêu.

Và có lẽ, cả gia tài của anh, ngôi nhà, những bức vẽ bán đi để mua quảng trường hoa hồng cũng không uổng phí, bởi tuy không nhận được tình yêu từ cô ca sĩ, nhưng câu chuyện của anh, cái tên của anh, người họa sĩ nghèo vô danh, đã sống mãi mãi với thời gian, mặc cho nhiều thập kỷ trôi qua...

Triệu triệu đóa hồng gắn liền tên tuổi của nữ ca sĩ Alla Pugacheva. Năm 1983, với ca khúc này, Alla Pugacheva đoạt giải Bài hát của năm tại Liên hoan tiếng hát truyền hình toàn Liên Xô (cũ). Đây trở thành một trong những nhạc phẩm nổi tiếng nhất trong suốt thập niên 1980. Tại rất nhiều buổi biểu diễn của mình, khán giả cùng Pugacheva cất lời hát hòa vang cùng giai điệu của Triệu triệu đóa hồng như màn đồng ca về một câu chuyện tình lãng mạn thơ mộng mà vô cùng đẹp đẽ.

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Triệu triệu đóa hồng đã trở thành một nhạc phẩm mà ở đó hình ảnh bông hồng sắc thắm là lời yêu thay cho vạn lời nói. Tình yêu của con người trên thế giới với hoa hồng có lẽ khiến bài hát Nga gần gũi hơn, đi sâu vào tâm khảm mỗi con người.

Tác phẩm được dịch ra nhiều thứ tiếng Nhật Bản, Anh , Hàn Quốc , Trung... và cả tiếng Việt. Ở Nhật Bản, đây được coi là biểu tượng của tình ca.

Triệu triệu đóa hồng vẫn mãi là nhạc khúc mà với thời gian, nó luôn chiếm giữ một vị trí trong trái tim người đã từng nghe nó. Ở Việt Nam người ta đã từng lắng nghe giai điệu của Triệu triệu đóa hồng vang lên ở khắp nơi... Một nhạc khúc được đánh giá được yêu thích nhất trong những năm 1980-90. Bài hát được nhiều chàng trai chọn là sứ giả, giúp họ thổ lộ tình cảm với người yêu. Triệu đóa hồng đến nay vẫn có sức lay động lớn với người nghe dẫu cho vật đổi sao dời.

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Tịnh Tâm - Thiên Sơn

from Đại Kỷ Nguyên - Feed - http://bit.ly/2DvQwaD via http://bit.ly/2DvQwaD https://www.dkn.tv

Paris Conservatoire and Charles Lamoureux (French, 1834–1899) and Marguerite and Camille Chevillard (French, 1859-1923) and Les XX Fernand Khnopff

Paris Conservatoire and Charles Lamoureux (French, 1834–1899) and Marguerite and Camille Chevillard (French, 1859-1923) and #LesXX Fernand #Khnopff https://www.facebook.com/juhyung.han.5/posts/1730146193711214 http://blog.naver.com/artnouveau19/221229416020

Camille Chevillard (French, 1859-1923) - Theme & Variations in G Op.5 ~ Phonola recording C.1908 https://youtu.be/6quGdFYoRIE

Camille Chevillard (French, 1859-1923) Paul Alexandre Camille Chevillard (14 October 1859 – 30 May 1923) was a French composer and conductor. Biography[edit]

He was born in Paris, France. He led the Orchestre Lamoureux in the premieres of Claude Debussy's Nocturnes (1900 and 1901) and La mer (1905), and promoted the music of Albéric Magnard.[2] He was the son-in-law of conductor Charles Lamoureux- in 1888 he married Lamoureux's daughter Marguerite.[3] He died in Chatou.

His pupils included Suzanne Chaigneau, Clotilde Coulombe, Sophie Carmen Eckhardt-Gramatté, Yvonne Hubert, Eugeniusz Morawski, and Robert Soetens.

Selected works[edit]

Stage La Rousalka, Incidental Music for the play by Édouard Schuré (1903) Orchestral Ballade symphonique, Op. 6 (1889) Le chène et le roseau (The Oak and the Reed), Symphonic Poem after the fable by Jean de La Fontaine, Op. 7 (published 1900) Fantaisie symphonique, Op. 10 Chamber music Piano Quintet in E♭ minor, Op. 1 (1882) Piano Trio, Op. 3 (1884)[4] Quatre pièces (4 Pieces) for viola (or violin) and piano, Op. 4 (1887) Sonata for violin and piano, Op. 8 (published 1894) Quatre petites pièces (4 Little Pieces) for cello and piano, Op. 11 (1893) Sonata in B♭ major for cello and piano, Op. 15 (1896) String Quartet in D♭ major, Op. 16 (1897–98) Allegro for horn and piano, Op. 18 Introduction et marche for viola and piano, Op. 22 (published 1905) Piano Thème et variations, Op. 5 Impromptu in D♭ major, Op. 14 Zacharie (d'apres Michel-Ange), Op. 19 Étude chromatique Vocal Attente for mezzo-soprano or baritone and piano, Op. 12 https://en.wikipedia.org/wiki/Camille_Chevillard

Paris Conservatoire and Charles Lamoureux (French, 1834–1899) and Marguerite and Camille Chevillard (French, 1859-1923) and Les XX

Charles Lamoureux (pronounced [ʃaʁl la.mu.ʁø]; 28 September 1834 – 21 December 1899) was a French conductor and violinist. Life[edit]

He was born in Bordeaux, where his father owned a café. He studied the violin with Narcisse Girard at the Paris Conservatoire, taking a premier prix in 1854. He was subsequently engaged as a violinist at the Opéra and later joined the Société des Concerts du Conservatoire. In 1860, he was a co-founder of the Séances Populaires de Musique de Chambre and in 1872 he founded a quartet which eventually took on the proportions of a chamber orchestra.[1]

Having journeyed to England and assisted at a Handel festival, he thought he would attempt something similar in Paris. Having come into a fortune through marriage, he put on the performances himself, leading to the foundation of the Société Française de l'Harmonie Sacrée. In 1873, Lamoureux conducted the first performance in Paris of Handel's Messiah. He also gave performances of Bach's St Matthew Passion, Handel's Judas Maccabaeus, Gounod's Gallia, and Massenet's Eve. As funds ran out, Lamoureux took up posts at the Opéra-Comique (1876) and the Opéra (1877-79) which were short-lived, due to Lamoureux's tendency to quarrel over their productions.[1]

Lamoureux then drew up a contract with the Théâtre du Château d’Eau to give weekly symphony concerts. The Société des Nouveaux-Concerts (which became known as the Concerts Lamoureux) was directed by Lamoureux from 1881 until 1897, when he was succeeded by Camille Chevillard, his son-in-law. These concerts contributed greatly to popularizing Wagner's music in Paris.[1]

Charles Lamoureux conducting from the podium. In fact Lamoureux's advocacy of Wagner's music was untiring. When he gave the first French performance of Wagner's Lohengrin at the Eden-Théâtre in 1887, the Chauvinists held street demonstrations outside denouncing the performance as an unpatriotic act. Despite this setback, two years later the work was restaged at the Opéra, which now made Lamoureux its musical director.[1]

In 1893 Lamoureux made a tour of Russia. He visited London on several occasions, and gave successful concerts with his orchestra at the Queen's Hall, on one occasion sharing the stage with Sir Henry Wood and Wood's own orchestra. Lamoureux died at Paris in December 1899; Tristan und Isolde had been at last heard in Paris, owing to his initiative and under his direction. After conducting one of the performances of this masterpiece he was taken ill and succumbed in a few days, having had the consolation before his death of witnessing the triumph of the cause he had so courageously championed.

https://en.wikipedia.org/wiki/Charles_Lamoureux

Camille Chevillard

Paul Alexandre Camille Chevillard (14 October 1859 – 30 May 1923) was a French composer and conductor. Biography[edit]

He was born in Paris, France. He led the Orchestre Lamoureux in the premieres of Claude Debussy's Nocturnes (1900 and 1901) and La mer (1905), and promoted the music of Albéric Magnard.[2] He was the son-in-law of conductor Charles Lamoureux- in 1888 he married Lamoureux's daughter Marguerite.[3] He died in Chatou.

His pupils included Suzanne Chaigneau, Clotilde Coulombe, Sophie Carmen Eckhardt-Gramatté, Yvonne Hubert, Eugeniusz Morawski, and Robert Soetens.

https://en.wikipedia.org/wiki/Camille_Chevillard

Les XX and musicians

"Between 1888 and 1893, Vincent d’Indy worked with Octave Maus and a group of Belgian musicians, including the internationally famous violinist, Eugene Ysaye, to create a dynamic concert series of avant-garde music. Each year the principle French composers o f the day, including Gabriel Faurd, Ernest Chausson, Charles Bordes, Peter (pp.9-10) Benoit, Emanuel Chabrier, Cesar Franck, Julien Tiersot, Chevillard, and Paul Vidal, would travel from Paris to Brussels, to hear world-class performances o f their music and often perform their works to large and appreciative audiences o f the general public. The phenomena was exceptional and in essence paralleled the art exhibitions, which involved many ofthe principle Parisian artists from Van Gogh, to Seurat, Monet, Rodin, Gaugin, Pissaro, Lautrec and Redon, to name but a few."

“Les Vingt and the Belgian Avant-Garde"

A Discussion of the Music Staged Under the Auspices of Les Vingt; its Esthetic Relationship to Music, Art and Literature in Belgium and France, with reference to Le Societe Nationale de Musique, Paris.

Andrew Smith, University of Hartford, 2003, pp. 9-10