The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. L’intelligence dont Chris Marker fait preuve dans la captation de l’air de son temps, puis dans l’analyse qu’il en tire, donne à son film valeur de faire-part de naissance de la … 2 — reviewed by Barbara Filser, Chris Marker: Remembrance of Revolutions Past by Howard Hampton, Les Films du Jeudi – Chris Marker Catalogue, Les Mutins – Si j'avais 4 dromedaires DVD, MIT Press – Chris Marker Books – La Jetée, Nouveaux Médias ? While recognizing their debt to their precursors (in homage, they even include a brief shot of the self-proclaimed Martin and Lewis of ethnographic cinema), in practical terms they made a very different film. They make more explicit reference to such significant and shocking events as a police massacre, on February 8th of that year, of anti-O.A.S. The discussions join that idea closely with the political events of the time. Their film places great emphasis on the political unrest of the time—and its prime signifier is France’s President, General Charles de Gaulle, who returned to power in 1958 (after a dozen years out of office) to satisfy the demands of French officers in Algeria who were threatening Paris with a military coup. During a career that spanned almost the entire second half of the 20th century, Pierre Lhomme shot films for a knee-weakening array of auteurs: Robert Bresson (placidly capturing the ebb and flow of chance encounters on the streets of Paris in Four Nights of a Dreamer), Jean-Pierre Melville (composing Army of Shadows with a pallor of faded blue and ash-grey that evokes … Rire des enfants, discrétion des esclaves, But they keep themselves resolutely out of the picture and, instead, maintain a quietly knowing air of superiority to benighted subjects who haven’t seen the political light. Le commentaire de Chris Marker qui n’apparaît qu’au début et à la fin est beaucoup moins pré- sent que dans ses autres films. Le Joli Mai. To revisit this article, select My⁠ ⁠Account, then View saved stories. Product Description. That’s how these resolutely non-reflexive films come nonetheless to turn inward on themselves. Chris Marker and Pierre Lhomme, Le Joli Mai, New York: Icarus Films, 2013/1963. The rigidity of the Old Left was as much of an oppression as the moralism of the Gaullist right, and the events of another month of May—1968—were the result. 15 minutes, 23 août 2012. Chris Marker and Pierre Lhomme's LE JOLI MAI (The Lovely Month of May) is a portrait of Paris and Parisians during May 1962;the first springtime of peace after the ceasefire with Algeria and the first time in 23 years that France was not involved in any war. 1 — reviewed by Barbara Filser, Chris Marker: Kommentare. En ce mois de mai 1962 marqué par la fin de la guerre d’Algérie, Chris Marker et Pierre Lhomme sillonnent les rues de Paris. That sequence gives rise to the filmmakers’ sharpest sarcasm, as supertitles declare “Same night, at the Garden-Club, the Madison reaches Paris,” and a night-club dance sequence is followed by another one, of exultant gyrators doing the Twist—followed by a scene featuring striking railroad workers talking about their wages. Regardez “Le joli mai” de Chris Marker et Pierre Lhomme, en replay sur Arte.tv. Yet Marker and Lhomme made a more determined, more doctrinaire film. Le Monde : "Le Joli Mai est à la fois le véhicule d’un voyage temporel qui fait du spectateur de 2013 un citoyen de l’an 1962, et une œuvre intellectuelle d’une acuité saisissante : rien de plus passionnant que de réfléchir à aujourd’hui à la lumière de ce passé-là." Le DVD du «Joli Mai» a été republié dans le cadre de l’exposition consacrée à Chris Marker en octobre-décembre 2013. Film Comment has an excellent article online as well: “Chris Marker: The Truth About Paris” by Sam Di Iorio. To revisit this article, visit My Profile, then View saved stories. He … His trial took place during the making of “Le Joli Mai,” and Marker and Lhomme film a sequence outside the courtroom, after Salan’s conviction, in which they speak with a man who accepts the verdict on the condition that Algerian fighters also face the law, and another, an army veteran, who defends Salan. Because the movie divides politics from cultural life, separates the possibility of documentary from the aesthetic question of the filmmakers’ presence, and links psychology to the economy in a dogmatically determined form, they miss out on the real revolution that was then taking place in France—the rise of a generation that, inspired by new movies, new music, and new art, expected public and political life to reflect its new energies and new desires. Located in the gray area between personal essay and objective document, Chris Marker and Pierre Lhomme’s 1963 film Le Joli mai is both a tender portrait of a city and an indictment of a way of life. They write about aliens, but I think that in these phenomena we are in fact confronting ourselves; that is our future, our descendants who are actually traveling in time.”. Located in the gray area between personal essay and objective document, Chris Marker and Pierre Lhomme’s 1963 film Le Joli mai is both a tender portrait of a city and an indictment of a way of life. Their analysis coalesces with their untimeliness, their curiosity with their isolation. A portrait of Paris and Parisians shot during May 1962-"the first springtime of peace" for France since before World War II-LE JOLI MAI is a film with several thousand actors including a poet, a student, an owl, a housewife, a stockbroker, a competitive dancer, two lovers, General de … Your sidebar area is currently empty. Using a lightweight portable camera, it was now possible to film sound and image simultaneously in practically any location. Il revient donc dans les salles de cinéma indépendantes, et c’est une bonne chose ! A portion of the articles is quoted below. The sardonic contrast of frivolity with seriousness, between those who confront matters of broad, enduring, and practical significance with those who ignore them in the interest of pleasure, suggests a mechanical and material connection between public and private life that’s far simpler than the one offered by Rouch and Morin. Le Joli Mai is a portrait of Paris and Parisians during May 1962. Last Updated on December 2, 2020 by bricoleur, Pierre Lhomme discusses the origins, awards, and remastering of Le Joli mai (1963) with Chris Marker. Et cela, aussi bien du côté du neuf que des produits Le Joli Mai Chris Marker occasion. The New Yorker may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. (1) Chris Marker et Pierre Lhomme, Le Joli Mai, Arte Éditions, 2013, 207 minutes, deux DVD (25 euros) ou en vidéo à la demande (VOD). «Le Joli Mai» (146 minutes) - 1962 - restauré en 2013 DVD 2 avec quatre versions : française, anglaise, sourds et malentendants, audiodescription. For a number of reasons (not the least of which being that the video currently circulating in the U.S. is missing a significant portion of the original film), none of this might be evident to the casual viewer. Ce beau documentaire de Chris Marker est réalisé en étroite collaboration avec Pierre Lhomme aux images, à tel point que le cinéaste lui propose de le cosigner. “Prince Bayaya” de Jiri Trnka, une forme d’ornement, 80:81 Chris Marker Speaks with Colin MacCabe, A free replay (notes on Vertigo) by Chris Marker, A Free Replay (Notes sur Vertigo) par Chris Marker, A propos du clip « Stress », par Chris Marker, C’était un drôle d’objet par Chris Marker, Chris Marker, Description of a Struggle (1960), In the Station of the Metro by Chris Marker, Letter to Theresa by Chris Marker: Behind the Veils of Sans Soleil, Level Five Transcript (Beta) by Chris Marker, Patricio Guzmán—What I Owe to Chris Marker, Second Life Tour with Chris Marker and the Harvard Film Archive, The Crisis of Cognition by Rainer J. Hanshe, The Encounter of M. Chat & Chris Marker as Told By Louise Traon, To Chris Marker, An Unsent Letter by Emiko Omori, Understanding Immemory with a little help from Raymond Bellour, What do you mean… Gérard de Battista on Filming in Okinawa, Chris Marker Bibliography: Primary Sources, Chris Marker Bibliography: Secondary Sources, Cinema Paranoia: A Bibliography from the Nineties, Filmographie Chris Marker: L’ Avant Scène Cinéma 2013, Jean-Pierre Gorin reflects the mirror house of Sans Soleil, From the Tower: Spiral Time, Blanchot, Algeria and Elephants, Blow Up: Luc Lagier’s homages to Chris Marker, Nadine Bolkovac Reviews Chris Darke’s La Jetée, Sophie Kovel Translates Marker + Esprit Publishes Les engagements de Chris Marker, Phénomène (n.m.) – nouvelle de Chris Marker, Pictures at an Exhibition by Chris Marker, Chris Marker – Notes from the Era of Imperfect Memory, Nora Alter’s Chris Marker Bibliography of Primary Sources, Lucien Bookmite Records Second Life Interactions with Sergei Murasaki, Marker Direct: An Interview with Chris Marker, Chris Marker: In Memory of New Technology by Catherine Lupton, Chris Marker’s A Grin Without a Cat Revives the Revolution. You can also check out another recent post on Le Joli mai on Arun with a View, featuring what looks like the original poster for the film (with some sly cats overlooking the expanse of Paris). These innovations heralded a new kind of informal, improvised cinema in closer contact with the real world. Director: Pierre Lhomme, Chris Marker Cast: Yves Montand, Simone Signoret | Read Reviews. All rights reserved. It’s this apparent new time of peace that makes that May so “lovely,” as a superimposed text states with conspicuous sarcasm: “The scene is set in May 1962, considered by some at the time as ‘the first spring of peace.’ ” Marker and Lhomme didn’t think so. . The filmmakers’ intervention—whether by way of editing, titles, or voice-overs (spoken by Simone Signoret and Yves Montand)—is more modest, more recessive. Cécile Mury. When Marker and Lhomme began filming on May 1, 1962, they started out in the shadow of illustrious predecessors. Will be used in accordance with our Privacy Policy. The same year brought Le Joli mai, Marker’s exploration of Paris and the Parisian Zeitgeist using the new technique of ‘direct cinema’ in the wake of the French war in Algeria (1954 to 1962), and Marker oversaw its remastering and re-release before the end of his life. Pardon the obnoxious advertisement that has no off switch. Portrait écrit : Remo Forlani Portrait photo : Sylvie Biscioni Extrait du livre “Changement de bobines” éditions Denoël oct 1995. Making History by Paul Arthur, State of the Estate: Chris Marker’s Library, The Secret Life of Books, ‘Thought-Images’ and Critical-Lyricisms: The Denkbild and Chris Marker’s Le Tombeau d’Alexandre by David Foster, «LE JOLI MAI» A LA MUE GAIE par Gérard Lefort in Libération 4 juin 2013, 'Thrilling and prophetic': why filmmaker Chris Marker's radical images influenced so many artists by Joanna Hogg, "If they don’t see happiness in the picture at least they’ll see the black": Chris Marker’s Sans Soleil and the Lyotardian Sublime by Sarah French, Autour de 1968, en France et ailleurs : Le Fond de l'air était rouge by Sylvain Dreyer, Avatars de l'Histoire, Warburg et Marker by Barbara Laborde, Camera Obscura, September 1990 8(3 24): 98-124 :: The Film Stilled, Raymond Bellour, Chris Darke, Chris Marker: Eyesight, Film Comment (May-June 2003 Issue), Chris Marker | Le cinéaste-caméléon et la mémoire palimpseste by Nathalie Bittinger – Esprit Mai 2018, Chris Marker: Kommentare. Vol. In addition to being one of the key works about the French reaction to the Algerian war, the film is also a far-reaching meditation on the relationship between individual and society, one that … De quoi nourrir vos convictions personnelles avec la référence Le Joli Mai Chris Marker si la seconde main fait partie intégrante de vos habitudes d'achat. Il est tourné avec une caméra portable Eclair Coutant couplée d’un magnétophone Nagra, ceci permettant l’enregistrement synchrone du son. Letter from Marker — A video essay by Luis Azevado using the words filmmaker Chris Marker spoke about himself to tell his story. Located in the gray area between personal essay and objective document, Chris Marker and Pierre Lhomme’s 1963 film Le Joli mai is both a tender portrait of a city and an indictment of a way of life. (2) Les Groupes Medvedkine, 1967-1974, Les Mutins de Pangée - Iskra, 2018, 154 minutes, trois DVD et un livre, 45 euros. As with “Le Joli Mai,” the result is a great and absorbing film that leaves a sordid taste of stifled rage, a frustration that doesn’t even dare to reveal its fury. If Rouch and Morin’s film focuses on individuals, Le Joli mai is edited around themes. Join our mailing list to receive ocassional news and thoughts from ChrisMarker.org. Un film de Chris Marker … .’ That thought of Montaigne’s reminds me about something I thought of in connection with flying saucers, humanoids, and the remains of unbelievably advanced technology found in some ancient ruins. Whereas Chronicle tracks the personal journeys of a small group of protagonists over a number of months, Marker and Lhomme wanted to organize a shorter time span around a wider scope of events. protesters. Chris Marker, Writer: Twelve Monkeys. When they were filming, in May of 1962, France’s nearly eight-year war to maintain colonial power in Algeria—a war that was also being fought, directly and indirectly, in France and elsewhere in Europe, by secret agents—had come to an end, as a result of the Evian accords of March and the referendums, in France and Algeria, that approved them in April. In “Le Joli Mai,” Marker and Lhomme offer longer interviews than those in “Chronicle”; they present a wider range of characters, in more varied circumstances, and they delve more deeply into the expressly political aspects of their participants’ daily lives. le joli mai. The two filmmakers, with their careful organization, also pull the material in the direction of psychodrama, and evoke the birth of fiction from real situations and personal lives. Thanks to japanese forms for letting us know about a recent article on Le Joli mai in Libération:«Le Joli Mai» a la mue gaie par Gérard Lefort, published June 4th, 2013. Marker and Lhomme give the impression of wanting to say something—to face the camera and preach. Its chief, the French General Raoul Salan (a leader of the 1958 military insurrection whom de Gaulle had forced into retirement), was arrested and, in May, 1962, sentenced to life imprisonment. Marker made a film about those events a decade afterward, “A Grin Without a Cat,” and its thesis is that 1968 actually happened in 1967—that the generational and (no pun intended) cultural revolution of 1968 was a mere epiphenomenon resulting from the expressly political uprisings of the year before (which, however, didn’t result in widespread political revolution). Hurry up and add some widgets. Chris Marker was born on July 29, 1921 in Neuilly-sur-Seine, Hauts-de-Seine, France as Christian François Bouche-Villeneuve. Le Joli Mai Pour plus de détails, voir Fiche technique et Distribution Le Joli Mai est un film documentaire français de Chris Marker et Pierre Lhomme, sorti en 1963. Publié le 31/10/20. “‘We do not move in one direction, rather do we wander back and forth, turning now this way and now that. Marker, Chris; Le Joli mai DVD Chris Marker (réalisateur (s)) Pierre Lhomme (réalisateur (s)) Yves Montand (Narrateur) Paru le 5 novembre 2013. Marker and Lhomme respond to “Chronicle” with the assumption that there isn’t much of a problem in representing people in their happiness or unhappiness, and that there isn’t a significant obstacle of form involved in depicting the political events of the day. Rouch and Morin made a reflexive masterwork, in which they include their planning onscreen, and even circle back with a filmed screening-room discussion of their movie by its participants. La chanson de Joli mai relie les deux parties du film. Le Joli mai (Chris Marker, Pierre Lhomme / France / 1962 / 145 min / DCP) Exposition Chris Marker, les 7 vies d'un cinéaste Vendredi 4 mai 2018, 21h00 - Salle Georges Franju → 23h25 (145 min) Le Joli mai (Chris Marker, Pierre Lhomme / France / 1962 / 145 min / DCP) Mosaico — Chris Marker, 1968-2004 by Intermedio DVD, Performance / Travel Notes for C.M., de Aki Onda, Remembering Chris Marker (Vimeo): Curator Stuart Comer, artist Beatrice Gibson and artist/writer Jeremy Millar pay tribute to the late Chris Marker, Rencontre / Le roman de Chris Marker (2013) avec Thomas Tode, Judith Revault d'Allonnes, Rencontre / Le roman de Chris Marker: Avec Anita Fernandez : une école de cinéma en Guinée Bissau (Centre Pompidou, 2013), Rencontre / Le roman de Chris Marker: De la création de SLON / ISKRA aux groupes Medvedkine (2013), Centre Pompidou, avec Ethel Blum, Christian Corouge, Jean-François Dars, Valérie Mayoux. Use of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21) and Your California Privacy Rights. The previous year had seen the release of a film with exactly the same point of departure. Ad Choices. The officers assumed that de Gaulle would commit France to retaining Algeria; instead, he soon realized that the fight was in vain, and he worked toward a political resolution of the colony’s independence. He calls attention, during the remastering process, of Chris Marker’s sense that the film would be difficult if not impossible to decipher by today’s youth – that they may not comprehend that the moment of the film was directly related to, as Lhomme puts it, “the end of French colonialism.”. Among that organization’s preferred methods of attack was bombing with plastic explosives (to which Marker and Lhomme allude in the film’s voice-over). Le Joli mai’s professed goal was identical to that of Chronicle: Marker and Lhomme wanted to use emerging technology to create a portrait of everyday Paris. hommage à chris marker. We go back on our own tracks . Vidéo de Zoheir Mefti. Ils parviennent à capter le quotidien des parisiens mais aussi leurs joies et leurs doutes. With the documentary "Le Joli Mai," Chris Marker and Pierre Lhomme attempt to capture a particular time and place, namely May 1962 in Paris. 145 minutes; black and white In 1962 Chris Marker made two films that distilled post-war subterranean anxieties about the future. Vol. He was a director and writer, known for 12 Monkeys (1995), Sans Soleil (1983) and Description d'un combat (1960). The notion of asking people about happiness had already played a crucial role in documentary history, in the 1960 film “Chronicle of a Summer,” by Jean Rouch and Edgar Morin, in which the filmmakers pose the same question to Parisians chosen at random, as well as to a select cast of friends and acquaintances. Chris Marker (French: ; 29 July 1921 – 29 July 2012) was a French writer, photographer, documentary film director, multimedia artist and film essayist.His best known films are La Jetée (1962), A Grin Without a Cat (1977) and Sans Soleil (1983). Understanding Le Joli mai becomes easier once the film is placed within the larger currents of French culture in general and Marker’s career in particular. “Chronicle of a Summer,” with its emphasis on the connection between censorship and misery, between failures of representation and personal crises, foreshadows the idea and the events of ’68; “Le Joli Mai” repudiates them in advance. In the process, the political through-lines—involving the struggle to make a living, the draft of young men to fight in the Algerian war, censorship, and racism—are inextricably joined with aesthetic form. Le Joli Mai ("The Lovely Month of May")is a 1963 French documentary film by Chris Marker and Pierre Lhomme. Aujourd'hui sur Rakuten, 7 Le Joli Mai Chris Marker vous attendent au sein de notre rayon . DVD (B&W) $ 34.99. L’année d’avant, Marker réalise La Jetée, un film expérimental qui fera date. Il revient donc dans les salles de cinéma indépendantes, et c’est une bonne chose ! Carte blanche à Filipa Ramos (2017), Centre Pompidou, Ben Sachs, The Owl's Legacy is the best symposium on ancient Greece you'll ever sit in on, Chicago Reader Jan. 9, 2019, New York Review of Books 23 Aug 2012 :: The Lost Futures of Chris Marker, J. Hoberman, New York Times 07/31/12 :: Chris Marker, Pioneer of the Essay Film, Dies at 91, Dennis Lim, aaaarg collection Chris Marker by silverliebt [dlp], Brandon's Movie Memory – tag Chris Marker, Chrismarker.ch – On a Quest from Switzerland, Encyclopedia of New Media: Chris Marker Bibliography, Encyclopedia of New Media: Chris Marker: Biographie, Encyclopedia of New Media: Chris Marker: Expositions & Programmes, #47 — Alfred Hitchock: Vertigo // Chris Marker: La Jetée by TROISCOULEURS (Vimeo), Chris Marker 1er mai 2009 Paris par jlggb (Vimeo), Exposition — Chris Marker, les 7 vies d'un cinéaste — La Cinémathèque française (2018), Interview with Cornelius Castoriadis by Chris Marker (English Subtitles). Le Joli Mai (Chris Marker et Pierre Lhomme, 1962) Cinéma-vérité La plupart des critiques s’accordent pour rattacher Le Joli mai au « cinéma-vérité », un genre nouveau initié en France par Jean Rouch et Edgar Morin, et inscrivent le film dans la filiation directe de … 1 minute à lire. La première partie, La Prière de la tour Eiffel, étudie surtout les réactions individuelles. In addition to being one of the key works about the French reaction to the Algerian war, the film is also a far-reaching meditation on the relationship between individual and society, one that corresponds to the leftist social vision elaborated in much of Marker’s work. FICHE TECHNIQUE. 2. By Sam Di Iorio in the May-June 2003 Issue. Le joli mai est un film documentaire de Chris Marker, de 1962 qui a été restauré récemment. “Le Joli Mai,” the 1962 documentary that just ended its run at Film Forum and opens Friday in Los Angeles, offers a wide spectrum of in-the-street interviews with residents of Paris and its suburbs that take off from, and conclude with, the question of happiness. "Le Joli Mai" ("The Lovely Month of May") Trailer - YouTube Rouch and Morin effectively transformed French filmmaking by introducing new technology (a prototype of the Coutant-Éclair 16mm sync camera made especially for the film) and a new filmmaking style (cameraman Michel Brault was flown to France from Canada to shoot some of the most ambitious scenes). This site is crafted with devotion and curiosity by Daniel L Potter. A French right-wing paramilitary organization, the O.A.S., was founded to target proponents of Algerian independence (as in “Le Petit Soldat”) and, ultimately, de Gaulle himself (as in “The Day of the Jackal”). © 2021 Condé Nast. 5 2 avis. Jean Rouch and Edgar Morin’s Chronicle of a Summer was the influential portrait of the Parisian everyday responsible for the slow-burning cinema verité revolution of the Sixties. Chris Marker and Pierre Lhomme’s “Le Joli Mai” September 20, 2013 “ Le Joli Mai,” the 1962 documentary that just ended its run at Film Forum and opens Friday in Los Angeles, offers a … Le Joli Mai est un film en noir et blanc à caractère documentaire de Chris Marker et Pierre Lhomme, réalisé en mai 1962 et sorti en 1963. Partager. 2. Joli Mai available in DVD. Le pari est si brillamment réussi que Le joli mai nous accoste, cinquante ans après, avec une vivacité de corps et d’esprit intacte. Rouch and Morin link personal happiness to historical consciousness, and historical consciousness to self-consciousness about artistic representation. That’s why the movie, by Chris Marker and Pierre Lhomme, could use some footnotes; many of the events to which it refers are likely unfamiliar to many American viewers (and, I confess, were largely unfamiliar to me before I did some research on the period a decade ago). Lorsqu’il entame au début de l’année 1962 la préparation du Joli mai, Chris Marker a déjà affirmé, depuis une bonne dizaine d’années sa conception du cinéma documentaire, avec la double ambition de mettre le cinéma au service de l’éducation de base ainsi que d’assumer totalement la dimension subjective du genre, à ses yeux trop souvent - et à tort - considéré comme au service du réel. 9. When they question stockbrokers, they seem to restrain themselves from pushing the camera into their teeth; when they speak with a priest who has become a factory worker and a Communist, there is a virtual halo over his head; when they speak with three unemployed women, or a sentimental soldier and his young fiancée, their sympathy and their tenderness blend with pity.