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Dr Jacques COULARDEAU "A soul doctor, so to say" (OLLIERGUES France)

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The System of Dante's Hell.
The System of Dante's Hell.
par Imamu Amiri Baraka
Edition : Broché

5.0 étoiles sur 5 Son évasion de son esclavage mental, racial et sexuel, 22 novembre 2015
Ce commentaire fait référence à cette édition : The System of Dante's Hell. (Broché)
The reference to Dante and his Hell is only a literary metaphor about the experience the author is telling us about when he was a child and growing young adult ending up in the air force.

You will wonder why the first chapters use a syntax that does not contain verbs, and practically only contains nominal phrases. This syntax freezes the description into some kind of ossified static sequences of images or impressions and you are free to rebuild an active world beyond. This is the vision of a child, a young child, an infant maybe. The child only experiences successive frozen tableaus that may make sense in their succession with some kind of syncretic associational architecture. And that’s the first vision of hell. As he says in the conclusion “Hell in the head.” And again “Hell is actual and people with hell in their heads.” For the child hell is already in his head. The book is written from the head or mind of a black male subject.

But the full verbal syntax of the language will emerge and with it the consciousness of a destructive force outside the said individual male subject. We find out then that time is not a dimension this young growing subject possesses. He crosses from past to future at will and the future then becomes dependent on the past and at the same time the future is sterilized by the past just as the past is haunted by a sterilized future. That explains why for a long time if not for ever the people, the characters do not speak, or hardly. A vision of a frozen past with no dynamic or so little. A dynamic will come but of another sort later on. Thus the total image of this life is just suffered.

The main character explains he is from the black middle class and thus is considered as rich and he cannot be a member of the gangs in the streets. He can only be on the outskirts of these gangs, an observer and a subservient member. What’s more he is reading, he is a reader and he reads poetry, Dylan Thomas, James Joyce, T.S. Eliot, Ezra Pound and a few more. Not only does he read these poets but several times he recites them to his uncultured and illiterate black audience. He thus is considered as crazy, mad, a poet, an intellectual, not a real man. Thus he is once again a subservient entertainer more than anything else.

That subservience is expressed by the trip down into Hell, from one episode of subservience to another. The subservience of homosexual episodes where the subservient subject is just submissive. He accepts what he is provided with without any consent, without any taking. He is just there to receive and receive he does in successive gang bangs. He thus builds some kind of inferno in his head that rejects the fact he is constantly the victim of people outside and his mind is entirely built like a castle where he is able to be what he wants to be, to dream himself as being what he wants to be. From this mental citadel he can then projects his poets onto the people around and he does not feel any pain any more, he does not feel the humiliation. Or does he not, really?

Thus his growing pains are successive episodes of violence, violation, submission, subservience, till he reaches the bottom of that hell. And that happens one day when he is on some short leave from the air force, in his uniform, cap and tie and all;, and he is more or less engulfed more or less by force or under pressure from people around him into going to some bar and meeting with black ladies of the night. He is literally captured by one fat one and practically forced to accept to live with her in that hellish bottom.

And this final and long chapter is his story of his escape. Gosh could we say! That escape more than redemption is heavy, hefty, brutal. He runs and he runs. Then he is pursued by some Jewish bum from under a house who wants to use him, the black man, as some kind of lollipop; then he has to be confronted to a dying black man and escape from the cops that are coming because by then he is AWOL; then he is attacked and brutalized by three black men who leave him for dead on the sidewalk out of the bottom of hell for one miserable dollar. Dante managed to get out of hell through the corporal bottom of Satan himself, and here the main character manages to get out of Hell through some escape route out of the bottom of it that brings him to some salvaging white hospital. But the redemption is in his head. He drops away from material consciousness because of the beating, escapes into his mind where he is reciting poetry to a black dancing audience till he passes out and he is rejected by the black dancing audience that does not do anything to bring him back. And then the next thing he knows is he wakes up surrounded by white people calling on God to save that black chap, in other words abandoning his salvation to God’s will. And that is the supreme vision of hell, white hell. Dying for black people, no matter how, is nothing but a divine fate. And be sure it means it is divine for the Whites.

And that leads the character, or the author, or in fact the person telling the story who is both author and character, to his conclusion about “hell in the head.” What he identifies as the torture of never being seen and yet always being observed, with an allusion to Ralph Ellison’s “Invisible Man” is the obligation to build in your mind a citadel where you can evade this “social dichotomy,” “the dichotomy of what is seen and taught and desired opposed to what is felt.” This dichotomy in fact contains the triple principle of this hellish experience: the first experience is what the child sees, and that seeing will of course last forever, even if you got blind. Hell is in the head. Then after seeing there is teaching, meaning here some teaching from outside and thus some learning for the black subject, learning what is taught which is not necessarily the truth, and it is not any black truth and it becomes another hellish element since this teaching is deculturating the black child or later man in order to acculturating him as a white mind in a black body that has to become invisible in its blackness. And the third principle appears here as what is desired because the black child and later man is made to desire being white, being invisible, being seen no more as black but at the same time not being observed as a black man trying to behave as a white man, which is bad both for the black community and for the white community. And that triple reality leads to the fourth element of the crucifixion in the feelings of the child and later adult.

And that triple principle leading to crucifixion has to end in God, but “God is simply a white man, a white ‘idea’.” And this third stage here, this triple white God is the final alienation and your survival is abandoned in this world to that white God, in other words to nothing at all, and you are abandoned to death on your cross. The only way out is just as hellish as you can imagine and it is in your head, it is a stronger image in your mind that “can deliver [a black man] from the salvation of [black men’s] enemies.” And that’s the damnation of black men in the triple trinity of white America.

And it all leads to the “destruction of America.” “Dead hard ground. / Violence / against others, / against one’s self, / against God, Nature and Art.” And there is no escape from this since the escape is a mental citadel in the mind that is maybe mentally protective but that makes the white social destructive machine ten times more effective since it kills you from the inside and impose onto you a triple vision of reality with “God, Nature and Art.”

This book is the best ever testimony of what the Post Traumatic Stress Syndrome of Slavery is for the descendants of black slaves. Written and published in 1965. It was a premonition of forty years of Post-Traumatic-Slavery-Syndrome and a post-monition of twenty years after Ralph Ellison’s “Invisible Man.”


Justified - Intégrale de la Saison 2
Justified - Intégrale de la Saison 2
DVD ~ Timothy Olyphant
Prix : EUR 20,00

5.0 étoiles sur 5 13 raisons de flirter avec l'alcool de contrebande, 21 novembre 2015
Ce commentaire fait référence à cette édition : Justified - Intégrale de la Saison 2 (DVD)
This second season does not bring the big surprise we could have expected. The Bennett family who have been controlling Harlan County for two or three generations, this Bennett family being in the hands of the mother, with no father available, but with three sons the mother uses as her direct servants and hit men, let’s say slaves in crime because that is what it is, this family,has to come to an end one day and generally it happens with a lot of pain and suffering.

Why does it have to come to an end?

Because the power of this family is based on crime: illegal cultivation of marihuana at a very high level, grand style and all, for tremendous amounts of money. Because the power of this family is reinforced by one son who is the local sheriff and has turned the local police force into a gang to enforce and reinforce the power of and the decisions of the mother. Because the other two sons are plain criminals and nothing else, killing for fun and torturing for kicks. Because some company from outside decides that the tremendous amount of coal that is hidden in these Kentucky mountains has to be taken out and the Bennett family is an obstacle to this industrial venture and has to be either bought, or even bribed, or eliminated. Since the sons are die-hard criminal minds there is no other way but to eliminate them, and get rid of the mother.

The agents of that cleansing mission will be the Deputy US Marshall Raylan Givens from the Givens family, a rival family to the Bennetts, and the Crowders, another rival family to the Bennetts. Raylan is the only one who is on the side of more or less legal means, the use of force if it is justified. The other members of these two families are on the side of justice for themselves, vengeance for their dead, revenge for their businesses and lives. So they want the Bennett empire to be split up into pieces and the viable pieces to be entrusted, or recuperated, by them.

So the brothers have to go one after another. One is shot dead by a girl he tried to molest and whose father he had killed, the second ends up in prison, the third, the local sheriff, ends up badly too and the mother has her own fate on her own hands. The chief of a tribe, or a clan, of a gang deserves some modest reward in their ends, in this case her end, face to face with Raylan.

The details you’ll have to get from the 13 episodes, but we knew from the very beginning that this second season was the end of the monstrous criminal corrupt dictatorship or a dumb mother and her three slaves of sorts, and sons by name.

There are tricky moments to eliminate secondary corrupt dummies, and some sensitive moments about the girl whose father was assassinated by the Bennetts. There are also some surprising moments concerning the two female characters, Raylan’s ex-wife who became his new girl friend, and his high school lover of sorts who is connected to one of the last surviving Crowders. Not to speak of Raylan’s step mother he calls his aunt. A very strong woman but to be strong is nearly a disadvantage when confronted to unethical criminals.

But I am sure you will enjoy the suspense. At the end, which could have been the end of the series, Raylan has applied for some promotion out of Kentucky or the Marshall service, he has just learned some good news about his ex-wife and we do not know what will happen. That’s not a cliff hanger but that will be a new start next season.


Sweeney Todd: Demon Barber of Fleet Street [Import USA Zone 1]
Sweeney Todd: Demon Barber of Fleet Street [Import USA Zone 1]
DVD ~ Angela Lansbury
Prix : EUR 8,92

5.0 étoiles sur 5 C'était le temps des émotions corporelles, 20 novembre 2015
Achat vérifié(De quoi s'agit-il ?)
Ce commentaire fait référence à cette édition : Sweeney Todd: Demon Barber of Fleet Street [Import USA Zone 1] (DVD)
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Sweeney Todd: The Demon Barber of Fleet Street (1982)

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Name: Dr Jacques COULARDEAU
Location: Olliergues, France

Summary: Superbly emotional
*** This review may contain spoilers ***

There is not much to say about this story. We all know it is a tale of miscarriage of justice, of sexual greed, of alienation and injustice, and of final revenge that turns sour. This is a typical Victorian story in the line of Jack the Ripper and so many other crimes of that type, and I should say multiple killers or serial killers one century before the FBI invented profiling.

This particular production is special since it is a Broadway production of the musical that Tim Burton brought to the silver screen many years later. This particular production was actually brought to TV a long time ago and it is this TV version that they remastered and brought to us in this format. The sound is perfect of course since in the 1980s FM sound also call hi-fi sound was already arrived. The pictures are good though from a TV standard, probably professional, probably Betamax. The remastering was only used to clean up the sound and probably too to densify the resolution. So we can consider we have the best possible rendering of this old production.

The interest is to have a stage production from Broadway and from a period when special effects were not yet the norm on the stage. The stage production was supposed to create emotion in the spectators and they mostly only had human means to do so. They only wrapped up the human means in a stage setting that could increase or decrease the realistic effect. They chose to break up that realistic effect with the systematic use of machinery visible to the audience. Constantly elements, some enormous, are moved on the stage, turned around more or less building up structures that are supposed to render the various locations and the various scenes. It is totally artificial and it works perfectly because of the other dimension which is used in the most genial way imaginable.

This other dimension is the use of actors, singers and "dancers," in one word stage performers. The music is good but we do not see the musicians. The singers are not opera singers but musical singers and they are good not so much because of their voices but because they use their voices as one element of their performing. That performing is physical and the voices are part of this physicalness. The voices, the physical performing on the stage (movements and other physical contact or absence of contact) and the phenomenal body language and facial expressions, it all is extremely effective to create emotion and density. The situations are deep and heavy because of this performing qualities. It is what has slightly been reduced in the most recent period by the use of special effects. In those old days special effects were hardly available and the actors had to work with their bodies, voices and faces to create those emotions. And that was a time that has unluckily mostly disappeared.

In this case we have a real masterpiece because everything is looking artificial and yet the emotions look extremely realistic. That's a stage directing choice that was more or less the only solution at the time if the stage director wanted to produce an emotional and powerful show. This is a real success along that line.


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Reinventing the Company in the Digital Age
Reinventing the Company in the Digital Age
par Francisco Gonzalez
Edition : Broché
Prix : EUR 20,00

3.0 étoiles sur 5 Rêvons tant que nous voulons mais restons lucides, 19 novembre 2015
Achat vérifié(De quoi s'agit-il ?)
Ce commentaire fait référence à cette édition : Reinventing the Company in the Digital Age (Broché)
The First thing to say is that 20% of the book is directly connected to the bank that is behind this book, Banco Bilbao Vizcaya Argentaria, S.A. These 20% are in no way critical since they are the direct production of the bank, including its own Chairman and CEO who opens and closes the book. Even the central part about the architecture of the new Madrid seat of the company cannot be considered as critical since the architects would criticize themselves and their own work which would be very bad public relations and advertising.

The second thing is we do not know the connections between some of the authors and the bank since the articles were required, ordered by the bank. Some of these articles are shorter versions of already published books. Some are probably the written and published versions of courses taught in their various universities within their main professional activity which is teaching. This is to be kept in mind constantly. These authors do not write what they think independently but what they have been ordered to write in a commercial move by the bank to promote a general idea and a set of concepts that are the heart of the bank’s human resources management, commercial project and public relations policy. They not only have been chosen for what they were known to be able to write but also within a commercial procedure and for an exchange of money. The book is free in its downloadable version and extremely cheap in its paper version (something like at most 30% of what it should be, so that the royalties are extremely small, what’s more divided between a fair number of authors. And I assume here there is a standard publishing contract behind the book. There could be a royalty-free contract, but such contracts being private we will never know. It is probable each author was paid a flat even if comfortable rate, which negated the very concept of copyright.

This having been said, we can discuss the internal matter which, I repeat, cannot be considered as absolutely objectively scientific because of this commercial dependence that some will consider as being advertising. At the same time we are dealing here with economic concepts and theories and in the field of the economy more than in many other humanities, because economy is one of the humanities and not a hard science, it is not scientific in any physical, chemical, or whatever other hard scientific way. In fact it is basically political and politics is not a science. The economy can be managed but it requires a lot more psychology, individual as well as collective, than hard material and even materialistic hypothetico-deductive facts and theories, and we all know tat even in the hardest physics imaginable we are only dealing with theories that are the mental constructs of man at a said moment of its human trajectory in the cosmos. Actually quite a few articles are so assertive that they are irritatingly not considering what they say may only be a theory and may be relatively true and false. They preach some concepts more than discuss them and these concepts become political objectives. Actually it is funny to see that some articles are defending different and contradictory concepts proving thus we are dealing with theories and not hard truth.

Here I will say I prefer being post-modern because I know from experience that there is no truth, only points of view, even in the hardest imaginable science, Stephen Hawking speaking. We have to drop that vanity that makes us assert scientific theories as being THE truth of eternal cosmos with eternal validity for universal circumstances. By the way in that field of the economy Adam Smith to start with, Karl Marx to continue and all their modern, epiphenomenal descendants are never advocating and have never advocated any truth but only their points of view and their theoretical constructs that generally led them to conclusions like “class struggle free communism.” It is funny to see how this myth of a final stage of humanity reaching some perfection that would not change any more, that would be eternally out of time and thus eternal, is nothing but the rewriting of the very common religious myth that believes in such a timeless final stage, be it Buddhist enlightenment, Biblical messianic Jerusalem, or all various paradises (with or without a hell, purgatory or Hades of any sort on the evil side). The myth of the alpha and the omega, of the first instant of human existence and the last moment of human destiny, the alpha before which there was no time and the omega after which there will be no time. Sure enough the time of our clocks is a human invention based on the observation of the cosmos which even if it does not have our minutes, seconds, and other time units has a universal principle of duration that enables that cosmos not to be static since it is changing by very definition. Humanity has no final target, no destiny. Humanity is just like anything else, nothing but a changing set of circumstances resulting from the millions or billions of ever changing parameters we are floating in, and at times drowning in too.

When we have that in mind then we can enter the book and build a critical approach of the concepts the authors advocate or simply try to sell. I will not discuss every page or every theory. I will take some concepts and some theoretical constructions because it is those I consider are more pregnant with some valid necessarily debatable approach or with some representative examples of the black holes of this book, like in “2010 The Space Odyssey” where human beings and computers alike got lost in such black holes that are beyond any human reason. .

Philip Evans page 20 brings forward the two concepts of “deconstruction of value chains” and “polarization of the economies of mass.” This is supposed to lead to Big Data, the new golden god of our time. The first concept is banal. Any theory has always been the deconstruction of the previous ones. Even if we take “value” in the economic sense of “added value” there is no change at all. It has always been like that. The second concept is not that new if we understand that behind mass he understands “scale and/or experience” (page 24). What is often called economies of scale meaning the bigger is the more economical, is not enough to cover our present reality in which experience which designates all one subject in him/herself and all the subjects in their total conjunction represent as for direct accumulated social, cultural, professional, educational or plain practical knowledge, be it addition or multiplication, though it can also be subtraction and division because some experience, that contains and covers knowledge, does not necessarily add up when brought together. An individual is constantly destructured by new knowledge and he/she restructures him/herself over and over again. We used to call that deculturation and acculturation. And it is the same thing with several subjects, and here the more often means the less. The more, the merrier, but certainly not necessarily the wiser. All the authors here assume that the collective intelligence of “n” persons is more important than the sum of the individual intelligences of these “n” persons. This is totally false because some people for innumerable reasons have experiences, knowledges and intelligences that do not add up because they are incompatible and they often look for the minimal common denominator before speaking of the numerator..

Hence the new architecture many of these authors are advocating is based on some principles that are far from being “natural.” They are here in the number of six.

The compatibility of all data processing systems FIRST. We are still far from that.

The total flexibility in the access and circulation of data SECOND. This raises the problem of the intrinsic value of this data, big or not, and the control of it by those who invented, developed and want to exploit it. That is called patents, copyright, intellectual and industrial property.

THIRD data is infrastructure (page 21). That point is obvious but it is not infrastructure in itself; it is infrastructure because it can find a real existence in some infrastructural construction, and actually it must to simply be something. The concept of plane is nothing as long as it is not materialized in a real plane object that can be used. It is not the concept of the motorway (highway, autoroute, Autobahn) that is the infrastructure but it is the material realization of such a concept that is the infrastructure. They are going to say I don’t understand but I say that this big data is at best a collective mental superstructure not an infrastructure. It is not the basis of our life. It is what dominates our life. We are the servants of our knowledge. Our knowledge is not the basis of anything in us. Our knowledge is not basic, our knowledge is mental, inspirational, motivational, experiential. It comes from our experience and it enables us to develop motivations thanks to the inspiration we may find in us triggered and nourished by that knowledge.

FOURTH the mental ability of man is no longer deduction, not even induction, but systematically inference. We infer from the data we are confronted to some elements that may be wrong, more or less wrong, but that are operational, and we stick to them as long as they are operational. The best instance I can think of is the French pay slip which is two pages long and has about sixty lines if not more and still multiplying. From this we infer it is complicated. So from the frustration of people and the tremendous waste of human labor to manage such pay slips we infer we have to change to satisfy the desire of people to have simple pay slips and the desire of employers to have these pay slips managed by a simple machine: we infer the desires and that becomes our order. And that’s were this “modern” approach is wrong. Connect all the computers managing these by far too numerous parameters and then you will be able to save enormous economies of scale and experience, economies of mass since these enormously too numerous parameters will be managed by machines and not human beings (save on human labor and experience) and it will be done in a jiffy since machines can do millions of operations in a nano second. Personally I would have deducted from this situation that we have to simplify the system and to reduce the number of parameters and lines. Then I would have followed a completely different motivational line.

And yet the FIFTH element would have been the same in words: deconstruction and polarization, but I would not have deconstructed the pay slip management to make it mechanical and fast. I would have first deconstructed the pay slip itself to make it simple and then the human management today necessary would no longer be necessary. It would not be deconstructed. It would become obsolete, and that is not the same thing. The polarization would naturally have changed from human management to mechanical management, from multiplying parameters to simplifying parameters, from increasing the risk of contradictory situations and parameters to decreasing that risk. Then I would have come to simple economies of scale and I would then economize human experience

And the SIXTH concept of economies of mass is no longer needed.

I have been long on this author, the first article of the book, because it contains the congenital mistake of this approach of human experience and human life.

After this article it is nothing but declensions and conjugations of the same nouns and verbs. The myth of no longer needing to have an office, a desk in a building for your work since you can work anywhere in the street, in bars, at home, not under your shower but in your bath, at night or in the day time, etc, is nothing but a myth. It is a myth first of all because of security reasons. You cannot access any data anywhere with any prying eyes next to you. You have to access this data on secure machines in secure buildings. That’s the first level of risk. The second level of risk is the protection of the data as intellectual or industrial property. There you need to guarantee the security of the machines and the environment, the possibility to get the data licensed, the guarantee that only those who get it licensed will be able to use it, meaning it will be secure from piracy and destruction. Etc. You can say what you want but these procedures cannot be accessed from anywhere at any time with no control and no security. You can maybe manage your bank account on your smart phone but can you access the bank account of your employer to get some data licensed to you for the project you are developing for your boss? He will have to pay. He has to know first and discuss it with you. You have to convince him this data is essential for your project. ETC. Or he has given you a budget and what happens when you reach the end of it? All the long articles on the independent, autonomous teams both flexible in working conditions and variable in composition to which some tasks are delegated, when it is contracted or subcontracted when these teams are from outside the company, are just what they are: a theoretical discourse that has very few chances to be true in most circumstances. By the way BBVA is proving in its mammoth Madrid seat that this is a myth. Why build a whole city for thousands and thousands of people, with daily transportation all along for the people coming to work there everyday if the future is in that mobility and flexibility?

The next proposal that is very dangerous is the negation of the value of intellectual property by nearly all the authors. Very few of them recognize it is a problem because very few of them even discuss the problem of added value. A product, even if it is an immaterial service, has a value that includes some added value produced by the knowledge integrated in its conception and designing and the work of those who realize the product, produce it or simple perform it. A recent TGV accident reveals that added value brutally. Eleven people died including children. The TGV train was being tested (there should not have been all the people who were aboard and especially children, all of them invited free by the personnel testing the train) on a certain section that had an important bend that required slowing down from 225 km per hour to 175. The driver did reduce the speed but too late meaning that he forgot the kinetic energy of the train is not simply destroyed by the sudden braking. And the train did not take the bend and jumped into some river or canal. That’s what added value is: the knowledge I have and I invest in my work adds value to my work that may prevent some risk, that may prevent a cost, an extra cost or even a cost in human life. When some necessary value is not added to what I do then the result is bad, risky, dangerous, What is strange is that this concept of added value is basic in all economic theory from Adam Smith to modern thinkers. Thomas Piketty knows about the added value of his books when he makes millions by just selling them, or rather having them sold by some people who add some value to that book in the simple act of delivering it in a way or another. Without this added value Pikkety’s own added value would never be realized in monetary terms.

It is such a lack of realism that makes many of these articles interesting but impractical. A worker could work from anywhere in the world and his or her boss be satisfied if the task he or she was entrusted with is performed in due time. But can an accountant manage the pay slips and pay checks of the several thousand employees in his company when he is climbing Mount Everest? Of course not. Many required circumstances are supposed to be fulfilled to guarantee the security of the data, the exactitude of the calculations, the timing of the work and its delivery. And what about someone taking part in the building of a house, of a car, of a canal? Can they do that in the USA from Laos or Cambodia?

And what’s more, in this book we do not grow our food, we do not raise our meat, we do not build our houses, we do not fabricate our cars, we do not drive our buses, even if it is at a distance like the automatic underground train in some cities where you have to be in the controlling office with all the computers and dashboards. This book only speaks of services and even so the customer wants to know where he or she can meet the technician, the worker who is going to perform the service at his or her home and that technician who is going to repair a faulty electrical outlet or a computer attacked by some virus will not be able to do it at any time and any where in the world.

These authors are living in a cloud, but not the cloud they mean, in a real cloud that obliterates their vision. They do not see the concrete and material dimension of most activities, producing hoods or performing services. We can dream of a world without workers, though not without farmers, in the West provided some countries are enslaved to performing that work, but sooner or later even these countries will want western development and then they will no longer produce and work in factories. But who will? Some extra-terrestrial zombies or plainly slaves? Or machines like in so many films? Wake up intellectuals and just step down from your ivory towers and just spend one month on a farm or in a factory to know what work really is. And work will be there for a long time. I am even ready to bet it will be there for ever. Even if I know it will change with time. I have seen it in mines and the steel industry for two fields, not to speak of farming again.


Classic Quadrophenia-Live From
Classic Quadrophenia-Live From
Proposé par musique-pour-vous
Prix : EUR 11,53

5.0 étoiles sur 5 C'est un pélerinage sacré!, 18 novembre 2015
Achat vérifié(De quoi s'agit-il ?)
Ce commentaire fait référence à cette édition : Classic Quadrophenia-Live From (DVD)
Of course we all know The Who. Of course we all know Quadrophenia. Of course we have all entered the Albert Hall, be it only for the Promenade Concerts. But here we have something else, something we cannot expect because it is new, will I say. The rock opera created a lot of many years ago has been arranged, and even more than arranged, reconstructed for the full Royal philharmonic orchestra. I must say I do not know many cases of a consecrated classical orchestra recording a rock opera. Pierre Boulez had a go at it quite a few decades ago. But here we are seeing the revival of a rock classic with the original artists, at least some of them, in such a new production that it sounds transmuted. And transmuted it is.

The music is no longer an accompaniment. It is a forest of sounds, rhythms and tempos that have their own logic in a Music Hall that is so prestigious we seem to have flown, fled or taken refuge onto another planet, as if the Archbishop of Canterbury or the Head of the Church of England, Elizabeth herself, were coming to a smallest village imaginable for the christening of the new born child of the local street sweeper or constabkle. It makes us humble, humble the way we have probably never felt.

In that forest, rainforest actually, jungle of music we then have the singers, the songs, the lyrics, the harmony, the fight to render trans-human and supernatural what is so well known we don’t have to listen to the words, they come naturally in our minds, and yet we do not really have what we experienced some forty of fifty years ago, I don’t want to remember, because they, the lyrics and the artists, have aged for one and because they have also followed the world. The Mod and the Rockers are long gone and today we have all other sorts of antagonisms and dualities, and even more variety still with triple and quadruple conflicts, rivalries and tragedies. We are no longer dealing with the Montagues and the Capulets. We are dealing with what is in each one of us, in all of us, the desire to kill, the desire to live, the desire to love, the desire to create, the four of them wrapped up in only one impulse, the impulse to communicate, to speak, to sing, to tell other people how happy we can be when we just get from them what we are expecting them to give us. We want to be loved to justify our love and to give that love without counting. And yet, nothing is that simple, as the bus driver would tell us.

So we try not to forget they are telling us about the world that is so torn apart that there are more cracks in the building than any building could actually bear before collapsing, ,and yet our will to survive, to outlive death makes the building stand and resist collapse. Our society should have been engulfed in all the violence it produces, and yet vital forces are so strongly stampeding down the empty street that we are still standing, breathing, living, loving, my friends, loving so hard and hugging so much that the whole world seems to be a youth liquor in our cups in spite of the bad smell of rotting flesh. Queer you will say, in the old meaning of the word, which was not that gay since it could mean some severe corporal punishment not so long ago.

But things have changed, haven’t they. We don’t have to yield to older brothers. We don’t have to surrender to bullies. We have the power of vanquishing our shyness and swallow our modesty and stand up and say: “What then if I am!” and that is not a question. And we find out we can be many taking that stance which is not in our heads but in our muscles, our blood, our guts. In our souls, minds, spirits and brains.

So enjoy this simple village christening turned into a salvaging ritual to redeem the world before Doomsday and we may think Doomsday is not far away when we see the apocalyptic killings some human situations can create.

Just believe in the future and it might become what you believe in. That’s what I would tell a friend of mine, a dear friend, even the dearest friend I can imagine. Why? Why should you care whet people may say if you have the courage to do what you want to do and be what you wish to become?


Utopian Wind
Utopian Wind
Prix : EUR 16,99

5.0 étoiles sur 5 Let your thrilled nerves take over, 11 novembre 2015
Ce commentaire fait référence à cette édition : Utopian Wind (CD)
Ne vous y trompez pas. Il s’agit bien d’un accordéon, mais l’accordéoniste, aussi compositeur ici, essaie de faire faire à son accordéon des choses qu’il ne savait pas pouvoir faire. Il joue avec nous comme si nous étions des naïfs. Nous savions que l’accordéon était un orchestre à lui seul mais ici il prend une dimension assez fantastique comme si un atelier de bruitage le hantait, comme si tous les sons de la terre gémissante lui remontaient à la gorge et éructaient sur nous des glapissements et des envoûtements sans fin.

Mais si ici ou là vous entendrez une corne de brume d’un bateau quittant le port, ou encore une brise légère dans quelque feuillage plus ou moins décharné ou métallisé, vous aurez un vrai voyage au bout de la nuit, une vraie descente au-delà du Styx dans les terres blêmes du dieu des enfers Hadès lui-même. Et parfois, de temps en temps l’accordéon se met à rire ou ricaner à notre peur, à nos frissons d’effroi devant une mise en abîmes, comme aiment dire les Américains, au fil incertain de quelque falaise sonore qui menace ruine et qui s’éboule sous nos pas. Nous sommes alors pris par la musique qui nous transporte où elle veut.

Le musicien est aussi un magicien, mais plutôt du côté infernal, vous savez un Dante de la partition, une Hécate de la nuit et des antres brûlants de quelque dragon qui s’égosille à nous charmer pour passer de l’autre côté du miroir, là où les monstres parlent et les brins d’herbe sont tranchants comme des machettes.

Osez cette musique et vous serez alors d’une autre trempe que l’acier, un alliage sonore qui vous laissera un appétit pour plus, toujours plus. L’accordéon de Pascal Contet est accoutumant, et comme dirait l’autre Pascal, l’habitude est une seconde nature. Pascal Contet nous fait basculer dans le désir de prendre l’habitude de vivre dans cet univers sonore.


Keeping Up Appearances Complete Collection [Import anglais]
Keeping Up Appearances Complete Collection [Import anglais]
DVD ~ Patricia Routledge
Prix : EUR 25,60

5.0 étoiles sur 5 Humour britannique garanti avec un bouquet de fleurs bien sûr, 7 novembre 2015
Achat vérifié(De quoi s'agit-il ?)
Ce commentaire fait référence à cette édition : Keeping Up Appearances Complete Collection [Import anglais] (DVD)

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Name: Dr Jacques COULARDEAU
Location: Olliergues, France

Summary: Please ask for one more encore
*** This review may contain spoilers ***

It's a comedy. So you must laugh and you will laugh and with Mrs. Hyacinth Bucket, pronounced bouquet, you shall laugh. That's a request, a demand, an order in one word. So they took very clear characters both socially and mentally, and they knit them together into a real bouquet of flowers, Hyacinth, Violet, Daisy and Rose. The first one is married to Richard, a top local government official who is submissive and flexible and has transformed their home's bathroom into his reading room. She is the tyrant who does not give a suggestion that is not an order, who does not order you around but command the rising of the sun and the shining of the moon.

Violet could have been the same, and she too married at the top of the middle class, with a Mercedes, a swimming pool and room for a pony or two, but her husband, Bruce, is no Richard. So it is a constant chase after divorce in the very sickening way of never getting it to be running after it all the time and forever.

Daisy is a social marginal woman who married sentimentally a man, Onslow, who is a social marginal case living on society, not because he is handicapped or uneducated or even uneducatable, but because he is just one of these slobs who just want to live their life slouching in front of a TV only wasting some energy to go bet on horses, and nowadays they don't even need to go out because they can bet on-line since the Internet is a basic need for everyone, isn't it?

The last one, Rose, is a pathetic woman who only lives in order to fall in love, that is to say to yield to her desires and appeals just in order to break every love affair, if possible with married men, to see it dying in order to chase after another prey, to hunt another game, to fall in love to her own desires and appeals one more time in order then to see it dying. There is no possible empathy for such a woman since her own desire is to constantly run around and around this cycle in the shape of a vicious circle with super short skirts and open neck shirts, or other light chest and breast embracing skimpy pieces of clothing.

You have to add the son of these poor mismatched and yet perfect couple Richard and Hyacinth, a certain, oh by the way what is his name since we did not see him once, isn't it Sheridan, who is in college forever and has just dropped mathematics for a sewing needlepoint class and who does not run after girls because he is too young, so says his mother. And that mother does not seem to wonder why he only has boy friends, I mean friends who are boys or men, which is, according to his mother, good, you know why, because it keeps him safe away from girls for whom he is definitely too young, will be too young till he is too old for anything at all.

But then it is a British, what's more BBC, comedy. So there must be two neighbors, a woman whose husband is living thousands of miles away and her brother who just got divorced. And of course there must be a vicar, Anglican if possible, and his wife and you have it all. We will have no plumber, but a postman and a milkman, a few cops and the father of this bouquet of flowers who is losing his head completely and believes he is still fighting against the Germans.

Such comedies are so perfect that you cannot hesitate to laugh and laugh, again, encore and again still, episode after episode. But in the end you will wonder if there is any abstract value, any higher dimension. You may think your life partner is like one of these characters, or you might think you are like one of these characters, and then you might wonder if that is cathartic or not, if that may liberate you or not. Don't wonder. You will waste your time. It is nothing but a comedy.

A cruel comedy though since episode after episode Mrs. Bucket, pronounced bouquet, is falling down into ever deeper failures, ever nastier tricks devised by life. You can be sure she could not cross the street but be run over by a bus, or go to the seaside but get drowned in a pool of dirty water on the embankment, the promenade des Anglais along the gravelly beach in Nice. She luckily does not go to foreign countries, at least practically never beyond Jersey and the Queen Elizabeth 2, otherwise she might really end up badly, like eaten up by the continental cannibals after slow cooking in a cast iron pot simmering on an open camp fire, soaking in a mixture of mayonnaise and mustard, and probably on Les Champs Elysées in Paris under the Arch of Triumph or on Unter den Linden in Berlin under the Brandenburg Gate.

But well the series does not stop really, only symbolically since at the end of the last Christmas Special she will meet with her demise and Richard will get the order that if she dies he has to make sure Onslow puts a tie on for her funeral. Good bye lady and do not lie in the flower beds for too long. It is more comfortable under the flowers.


Cavalli:l'Amore Innamorato
Cavalli:l'Amore Innamorato
Prix : EUR 12,95

6 internautes sur 7 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Le CD est bon mais le DVD est excellent, 26 octobre 2015
Achat vérifié(De quoi s'agit-il ?)
Ce commentaire fait référence à cette édition : Cavalli:l'Amore Innamorato (CD)
Vous ne serez pas vraiment déçu par le CD. Deux sopranos extrêmement proches l’une de l’autre et une suite d’arias d’un compositeur principal, Francesco Cavalli et quatre pièces de deux compositeurs supplémentaires. Les voix sont parfaites mais tellement semblables qu’on ne les distingue plus et les arias étant coupés de leur contexte musical et dramatique apparaissent comme des exercices plus qu’ayant une dynamique qui les dépasse. Mais il n’y a aucune aspérité à laquelle se rattacher pour avoir une quelconque dynamique.

Si vous aimez les arias de sopranos totalement coupés de leur contexte vous serez très satisfaits car ici on touche à la perfection. On n’en approche pas. On l’atteint. Si vous préférez le dramatique, la dynamique tragique ou même amoureuse des opéras vous serez frustrés. Si vous aimez la diversité des voix vous serez frustrés à nouveau.

Mon opinion est donc mitigée.

Par contre le DVD qui atteint tout autant la perfection et qui est presque deux fois aussi long donne une rétrospective du travail de L’Arpeggiata depuis 15 ans. Là vous n’avez pas plus de construction dramatique et de dynamisme tragique puisque ce sont à nouveau des arias qui se succèdent. Mais vous avez deux éléments qui sortent avec fureur et puissance ;

D’une part la variété des voix car dans cette rétrospective de nombreuses voix sont associées, mises les unes après les autres. Je regretterai cependant que le luxueux livret n’en donne pas la liste. Mais soit dit en passant on a la photo des musiciens et des deux sopranos, mais ces photos ne sont pas identifiées : c’est comme un album de photos de famille Pour revenir au DVD on a tout au plus la liste des compositeurs et des titres, mais pas des chanteurs. Cela est frustrant car c’est bien gentil de donner ces indications sur l’écran mais si on veut simplement savoir, garder en mémoire qui chante quoi, il faut prendre des notes comme un journaliste au concert.

En plus, et là ce travail devient fascinant les genres sont absolument antagonistes, différents, conflictuant de musique traditionnelle à musique d’opéra, les genres, les tons, les colorations, les tempos, les rendus en un mot sont tous si différents que c’est un vrai enchantement même si les pièces isolées perdent leur dimension dramatique. Cela crée une dynamique qui ne montre pas vraiment le progrès de la formation car il y a longtemps qu’ils ont atteint la perfection et que leur progrès est dans l’ouverture à de nouveaux genres, de nouveaux styles. Et là le DVD, en images en plus, est de loin époustouflant.

Mais il semble surprenant que ce soit le DVD de bonus qui emporte mon enthousiasme, même si j’ai la plupart de ces enregistrements en CD. Il y a entre autres Jaroussky qui fait la fête en Amérique en ce moment, enfin presque puisqu’il tourne à Toulouse « Niobe, Regina di Teba » d'Agostino Steffani créé au Festival de Musique Ancienne de Boston il y a déjà quelque temps.


Dowland: Lute Songs
Dowland: Lute Songs
Prix : EUR 17,99

5.0 étoiles sur 5 La musique d'une période tragique dans l'histoire de l'Angleterre, 25 octobre 2015
Achat vérifié(De quoi s'agit-il ?)
Ce commentaire fait référence à cette édition : Dowland: Lute Songs (CD)
This field of love songs, madrigals or other Renaissance forms in England is an enormous well arrayed and furnished jungle of archives and music pieces that have been explored all around and all along. The English, thanks to the university choirs have been able to continue with the century-old tradition of all male choirs and thus to cultivate and develop countertenors of all sorts since no women could take part and children were out at this level. The most famous English countertenor is Alfred Deller in the second half of the 20th century. I remember hearing him in concert in 1964 or 65 in Bordeaux. Another world opened up then. And since then I had been opened by this rare new discovery.

Damien Guillon is the perfect countertenor for these songs that were never performed by castratos, at least they did not have to be since the countertenor tradition was very strong with Purcell himself one century later being a countertenor. Thanks god at times humanity is able to keep some old traditions that are kept not because they are traditions but because they are good, unforgettable, beautiful.

Shakespeare used and overused such voices since he could not have women on the stage. But the songs chosen here correspond very well to the main tradition of the 16th and 17th centuries in England. The six wives of Henry VIII, the successive changes from Catholicism to Anglicanism then back to Catholicism and finally back to Anglicanism soon to be replaced by Puritanism to finally go back to clean and clear Anglicanism with the Glorious Revolution that instated though the full ban for a while of all things and people Catholic. The secret passages in the great halls, mansions and family seats of the nobility were far from being forgotten and made useless to hide the clandestine catholic priests or the catholic members of the families. Today these secret passages are overused in series and films.

The tone of the songs here that are from more than one composer as announced on the sleeves are all very languorous and sad as if in that time love was always associated to drama and tragedy. It is true the theater of the time was full of such sad events, the killing and death of all members of all these doomed love affairs. Think of Ophelia and Juliet and their male lovers. That’s a choice but we must keep in mind that madrigals and other pieces that were not destined to go on a stage could be sung by women and thus have lighter themes, more danceful, joyful, pleasureful. But keep in mind there were then no women’s universities and women were hardly educated beyond basics and their early teenage. Look at Shakespeare again. Juliet was supposed to be married at fourteen at the latest and her education is never alluded to whereas Romeo and Mercutio, Tybalt and all the boys were officially students of some type or other.

Damien Guillon doubles up this very sad music of his, these songs of languor and unrequitedness with Eric Bellocq’s luth music that is just a lugubrious, funeral, tenebrous descent into the hell of all scales. It is marvelous, beautiful but we are dealing here with the beauty of introspective love that expects and waits for the coming of the main lover of all men, death of course, and yet that’s so ambiguous since Death is a male in the English and Germanic tradition. In other words Death, the lover of all men, is a castrating lover that leaves these men impotent, frigid, dead in one word.

The full unity of the music of this CD makes it exceptional. It is a dirge, a mortal and in some way morbid descent to the underworld of love, to the seventh hell of love’s pains and pangs. And you have to enjoy all that torture and suffering because that’s part of man’s fate, I mean the fate of all males, to suffer for the love they experience for the lady they will never be able to approach, touch, kiss or even look at except at a vast distance. I feel that in these troubled centuries in England the famous courteous love of the Middle Ages in the Arthurian tradition has turned somewhat sour and has become a Tenebrae à la Charpentier. “I sing, Fie fie on love, Fie fie on love, it is a foolish thing,” sings Damien Guillon in one of the more vivacious songs “A shepherd in a shade”. Even the poor lover of Cynthia can only tell that Cynthia is nothing but a nest for cuckoos, which leaves little to the lover himself.

The question about that art has to do with what is typical of England since 1215 and the Magna Carta. In 1215, and that had been going on for a long time in the form of a rivalry between nobility and church on one side and the king on the other side. It is the fiorst document in Europe that actually sets in writing some rights for some women and children, precisely widows and orphans in noble families. It is thus the beginning of a rather long quest and conquest of freedom for women and Elizabeth I played an enormous role along that long line, though the Stuarts and the Puritans will bring or try to bring many things down.

A perfect rendition of this period when the Canterbury Tales were forgotten and the sad side of things of love or anything else were cultivated. We seem to forget that in Shakespeare you always have some farcical at times farcical-looking scenes in the most tragic and dramatic situations, but at the same time we always had some tragic or tragic-looking scenes in the most farcical of all comedies. Ben Jonson as for that is a genius, how he brings the tragedy of Puritanism and of man’s vanity in simple joyful and lustful fests like “Bartholomew Fair” or “The Silent Woman,” the former with the hanging and quartering of some condemned bloke on the day before the Fair on the same ground, in the middle of the fair to start afterwards, and the latter with the pangs and dangers of gender orientation for the great pleasure of the audience and the full chastisement of the vain husband.


Tim Burton - L'intégrale (17 films) [Édition Limitée]
Tim Burton - L'intégrale (17 films) [Édition Limitée]
DVD ~ Tim Burton
Prix : EUR 122,52

5.0 étoiles sur 5 Soit il est génial, soit parfois il est frustrant, 24 octobre 2015
Achat vérifié(De quoi s'agit-il ?)
Ce commentaire fait référence à cette édition : Tim Burton - L'intégrale (17 films) [Édition Limitée] (DVD)

That sure is a comedy, what do I say, a farce indeed in Molière’s style, and as they say in French “Bonjour les dégâts!” meaning something like “Good Morning Vietnam!” I must say there is no logic, no real development of any theme at all, except absurdity and tomfoolery, maybe some masquerade and charade in shambles. And it is funny just because it is absurd. […]


That’s the real beginning of this Tim Burton of great fame. This film is absolutely crazy as for the tomfoolery, the ghosts, the people and the situations. It is off limits in all possible ways but it is great because this time there are two things that hold the whole story together.

First of all there is the music. The calypso is a phenomenal good idea. That music in itself is the music of the dead, of happy newly deceased who finally get their last word in this world: they can stay in their home and they become the real soul of this home that is inhabited by some living people and haunted by them with the full agreement and collaboration from the living inhabitants. Death is finally the pleasant delirium that it is supposed to be and not that ordeal so many people are afraid of. When you die you must make friends with some living people. The point is to find how you can make yourself useful to them so that they will welcome you in their home that used to be yours. […]


This new version of Batman was bound to rejuvenate the old story. It was intended to reopen the book though it was closing it in a way. Batman was not the flier we thought he was but he was only a very good acrobat who had very good weapons that threw cables all around and helped him get out of the muddy marshes of life right into the sky. At the end of his metal thread he looked more like a spider swinging in the wind than a bat, but let’s say he was close enough. […]

0 of 1 people found the following review helpful
5 STARS Good can be popular and vice versa
By Jacques COULARDEAU on November 9, 2005

The Joker Nicholson is a great paranoid psychotic clown that only wants to kill and hurt though he attracts people not with honey but greenbacks. Batman is a child fighting to get back to his parents, to bring them back to the only life they can know after death, and that is the root, the goal or the mind of the one who will purge Gotham of the evil Joker that does not even deserve a smile when he goes down into his macadam grave.


That’s probably the first really great and creative film by Tim Burton. He used a very young Johnny Depp who is marvelous and surprising in composure, retained and controlled emotions just as if he had none and was feeling nothing. It is true that the fact he has no hands makes his body language a little bit deficient. But his face has to be emotionless too and only his eyes express some human feeling. His nature is not exactly sure, certified and guaranteed. Is he an artificial man like the creature of Frankenstein? Vincent Price was a specialist of that kind of horror movies with “The hilarious House of Frankenstein,” but also and above all the films adapted from Edgar Allen Poe and other authors in that line of human horror. So as a mad scientist he fits the role. […]


Thirty three years later Batman is still the same age and Alfred Pennyworth has not caught one single wrinkle more. They are beyond time. That’s of course the very first axiom of a comic strip, hence of any comic strip super hero (look at Tintin for one). They do not age. Around them though people are getting old of course, but since very few are the same from one film to the next it does not matter. And of course Batman’s paramour of the first film has disappeared from the picture, or should I say pictures?

Then the plot has to be really renewed indeed. Tim Burton has decided to make it a lot more complex and complicated. Instead of one good one, Batman, and one bad one, here the Penguin, he gets two more, both on the evil side, though one is slightly insecure as for her profile between good and evil. […]


The Story itself is a perverse well ending distortion of all festivities children love into a nightmare. Children adore Halloween, even though it is dedicated to wintry death, the ghostlike dead, sour witches, menacing wizards, all kinds of dangerous beings that only revel in the enjoyment of death for themselves and for everyone else. On the other hand Christmas has become the celebration of sweet gifts, sugary presents, honey-like offerings of love and friendship to children and to everyone we love and love can only exist in life. Or Can it really? […]

1 of 1 people found the following review helpful
5 STARS Christmas is better than Halloween, but Halloween is best
By Jacques COULARDEAU on March 7, 2004

A film of great interest, artistically. It is a Christmas pantomime that reveals a very high level of technical perfection in animation. It is a very good musical where music and singing are literally merged into the pictures. It is also a very profound film about children : their expectation of fear with Halloween and of joy with Christmas. Children are just like adults, dark on one side and colorful on the other side, and they don't want the two to be mixed or just to mix. This gives a great attractive power to the film for these children who will be panickstricken by the kidnapping and possible killing of Santa Claus, and who will be thrilled by the frightening characters that haunt our vision of Halloween and this strange night when ghosts come back to roam our streets begging for candy. [;;;]


How can one make a film about the worst ever director in Hollywood? Not a loser really since he managed to do a few things in B movies though from what we see we could think his films are a lot more advanced in the alphabet. But certainly not the winner he wanted to be or become and he never became for sure. That will lead him into alcoholism to forget or go on dreaming, just like Bela Lugosi got into drug addiction to be able to sleep at night. […]


This time he blew it completely, Tim Burton. OK he does not like middle class America but why the heck does he want to have it destroyed? All right he does not like Martians who are green and destructive in the most futile and insidious way but why the heck does he want them to destroy us all? He sure does not like crooners that are good enough for Las Vegas casinos and for grandmothers who live in the past, but why the heck does he want them to be a deadly weapon against Martians? […]


This one is a classic, a witch and haunted classic. Since it comes from a very distant time, 1799, in 1999, to celebrate the millennium anyway after celebrating an older millennium, when everyone was expecting the end of the world and the Apocalypse, there is no need to play at “suspending your disbelief” because in 1799 they did believe in ghosts, in curses, in the devil, in witches and many other things like that, though deeply motivated by inheritance, property, possessions, riches, land owning, and a few other things like that. […]


This version is a remake of an older film that was not exactly one of the best films under the sun. Here Tim Burton manages to give some new life to the main story and to add a punching line that is most surprising.

In 2001 Tim Burton played with black holes and he could since the famous 2010 the Space Odyssey had come out some time before, exactly seventeen years before and everyone started knowing that in space we have these black holes of highly concentrated anti-matter that maybe lead to another time or space dimension, if we believe Stephen Hawking and his Brief History of Time published thirteen years earlier. It starts a little bit romantically since a monkey, an ape if you want, is being trained to go in a special space shift into one of these highly tormented and agitated areas to see what is in there. Unluckily he is lost within minutes. So his trainer decides against his own superior officers to follow suit to recuperate the monkey or share his lot.

5.0 out of 5 stars The remake was more than necessary
By Jacques COULARDEAU on September 1, 2010

0 of 3 people found the following review helpful
5.0 out of 5 stars The myth is not renewed but revived for sure
By Jacques COULARDEAU on 1 September 2010

The remake is worth the nearly two hours it lasts. Tim Burton packed the story with all kinds of action and dramatic tragedy at every turn in the plot that is thickening as fast as it is sickening, and that is an understatement. Brilliant job, Tim! When are you doing the sequel? He injected a lot of believable realism and that planet where apes have taken over on humans, does not make humans regress to speechlessness because that is impossible, and absolutely absurd. They have regressed to living in villages that we will never see but they do dress properly, they do behave with some kind of humanity, or human-ness at least. […]


The film is well done and we can see here and there some images that are recalling elements of other films by Tim Burton, like an image resembling the basic image of The Nightmare Before Christmas. There are many more, well, at least a few. That’s the sign of a man who wants to build a complete set of films, that is able to connect his films with some bonds and strings to make them a whole and not just isolated titbits. But more than that the film also uses allusions to works that are not Tim Burton’s. We definitely cannot miss the allusion to Twilight Zone in that village lost in the forest and we automatically think it must be a village beyond life, hence the hero must have died along the way, maybe with the jumping spiders. We will only know it is not the case at the very end of the film. […]

1 of 1 people found the following review helpful
Life is nothing but invisible marvelous wonders, November 9, 2008

1 of 1 people found the following review helpful
Story telling as the embellishment of real life
By Jacques COULARDEAU on 9 November 2008

Dr Jacques COULARDEAU, Olliergues, France, 9 November 2008
We are all the mythical fish of some one else

It turns all around the father and his son and their difficult relation. It was perfect as long as the son believed in the stories the father was telling him all the time, that is to say as long as Father Christmas really was a childhood hero. But older age came and those stories sounded all silly, even sillier and sillier and they led to a complete break between the two, the father and the son, till the father came to the point of departing from this life. The son and his wife came back and he was confronted to the stories again. […]


This animated film that uses puppets and other means to build a full show, dancing, singing and haunting included, is remarkable. Remarkable for its pleasantly morbid humor and subject. Remarkable for its caustically social criticism. Remarkable for its mesmerizing loving young characters. These are the victims of everything in the world. Of their parents, of their social position, of their young age, of their romanticism, of their naiveté and of course of all the social climbers and social vultures our beautiful human society hosts and even cherishes. It is true without these social escalating climbers life would be humdrum and tasteless. With them it tastes like mud and there is always some hullabaloo around them. […]

5 STARS Morbidly exhilarating
By Jacques COULARDEAU on December 6, 2006

6 of 6 people found the following review helpful
5 STARS Love and marriage deserve to die
By Jacques COULARDEAU on 6 December 2006

Dr Jacques COULARDEAU, Olliergues, France, December 6, 2006
Death is like the paradise of love and the real gate to marriage

Do not try to disentangle and find out all the allusions this film contains. You will always miss most of them, even Hamlet. Just enjoy the animation that is superbly creative and the situation that is so full of humor, black and white and in colors, that you may end up losing your marbles and loosening your jaws. The music is definitely marvelous and mysterious. A Danse Macabre in high noble society and a wedding march in the cemetery. […]

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5 STARS Plus beau que la mort il n'y a que l'amour
Plus beau que la mort il n'y a que l'amour
Par Jacques COULARDEAU le 6 décembre 2006

Ce film est un chef d'œuvre éternel dans son noir et blanc qui en devient une vraie palette de couleurs. Ne cherchez pas les allusions vous ne saurez jamais les trouver toutes et vous vous sentiriez bien frustré d'en manquer une pelletée. N'allez pas vous mêler les méninges dans les fils plus qu'entrecroisés de ces marionnettes qui jouent aux dessins animés. […]


While Tim Burton was marrying Johnny Depp to a corpse in the most lurid and lascivious funeral wedding he could imagine, he was working in a bath of chocolate with five children, three boys and two girls accompanied by one parent each, two fathers, two mothers and one grandfather, Charlie’s. The game, the lottery, the sweepstake of this film is nothing but the visit of a chocolate factory worked only by machines and we will discover later a new species of brownish humans who are all, absolutely all midgets, though we can never be sure with Tim Burton. Maybe their shrunken state is nothing but a visual special effect. […]


This film in its original version is entirely or nearly entirely sung and the music is probably the best part of the film. It is thus a musical tragedy, mind you, not drama.

First, Tim Burton recreates in color the bleak black and white vision we can have of London in Dickens’s time among others. Oliver Twist is there in front of us all over again, and his world of coal, smoke and dirt. And the house of this barber is a lot bleaker than any bleak house in Dickens. In fact it goes as deep in squalor as D.H. Lawrence’s early autobiographical novels like Sons and Lovers. The only real color Tim Burton uses is red, the color of blood and nothing else, but all its possible shades and intensities. That is already a piece of art and a masterpiece at that, a film in black, red and grey. Nothing white of course. […]

5 STARS Colorful black and red
By Jacques COULARDEAU on March 30, 2008

2 of 3 people found the following review helpful
5 STARS Red and black color film
By Jacques COULARDEAU on 30 March 2008

Nothing to compare with the French version seen at the cinema some years ago. This film in its original version is entirely or nearly entirely sung and the music is probably the best part of the film.

First Tim Burton recreateS in color the bleak black and white vision we can have of London in Dickens among others. Oliver Twist is there in front of us all over again, and his world of coal, smoke and dirt. The only real color he uses is red, the color of blood and nothing else. That is already a piece of art and a masterpiece at that. […]

Dr Jacques COULARDEAU, Olliergues, France, March 30, 2008
10 STARS A dark parable of light

Sweeney Todd could have been a swine representing "der Tod", in German in the text, death in one word. And he does represent a fate that should be ashamed of existing. A young barber is the husband of a beautiful woman and the barber is sent to forced labor for no other reason than to clear the way for the judge. The wife will be the possession of the judge but she will poison herself, though she will survive as a deranged homeless woman. The daughter will be adopted by the judge for his unique later use. This Victorian society is shown as being absolutely horrible, disgusting. […]

IMDb – Amazon.co.uk – Amazon.com – MAY 30, 2008


This book is a marvellous treasure. It is dedicated to the film of Tim Burton and hence to Johnny Depp whose bleak and disquieting face is on the cover all surrounded by red and dry blood dark red brown. He is the man you just do not want to meet in a back alley in London or any other place in the world.

The book gives you explanations about the making of the film, the choosing criteria for the main actors and the supporting actors, the designing of the set and the costumes, in one word everything. If you like the film, if you like films in general, if you like the cinema, this book is absolutely indispensible. […]


For 1936 that was a good English film? No embellishment, just the drama, the horror, the descent into hellish London when Fleet Street was really deserving its name when it was the disembarking entrance into London for all ships that still went up the Thames beyond Tower Bridge.

The Barber is Sweeney Todd and the pie-maker is Mrs. Lovatt. They are associates in crime to share the profits since it targets isolated travelers arriving on the ships mostly from the Indies, West or East, or even in-between Africa. The objective of their waiting for them and then on them is to rob them and make them disappear, though there is no real allusion to any cannibalism. […]


This film is the most surprising adaptation of this typically Victorian novel for children written by Lewis Carroll and published in 1865, one hundred and fifty years ago. Centered on a woman, Alice, it is a memento about the role of women in society and their necessary liberation. The queen was Victoria and as such was setting an example, and in 1865 she was still young. Lewis Carroll with his two queens fighting for supremacy and the crown is providing a caricature of what the world would be if only women were at the top and that is a direct allusion to the debate of the time when Queen Victoria became a widow and refused to remarry. Behind this discourse about the liberation of women, or rather the promotion of women into responsible positions in the world, there is the discourse that they need men to stabilize and balance their government, their authority. It is obvious that Alice ending up as the captain (really?) of a colonial ship is the modern addition to the tale. […]

5 STARS Enchanting magic
By Jacques COULARDEAU on April 11, 2010

3 of 7 people found the following review helpful
5 STARS Marvellous and charming
By Jacques COULARDEAU on 11 April 2010

Dr Jacques COULARDEAU, Dr Jacques COULARDEAU, April 11, 2010
10 STARS A mature epiphany

A beautiful film indeed. Beautiful because of the images themselves. Systematically light, colorful, very dynamic, surprising in all kinds of way, frightening a few times but most of the time enchanting and magic. Beautiful because of the actors who play so well and are so well adapted to their roles. Of course the Mad Hatter is the best in that line, even in a way better than Alice who is more standard, more exactly the way we imagine her. The queens are fine too but the White Queen does not have the charisma she should have to be able to inspire a struggle and revolution of the type she leads. The Red Queen is just hateful and odious. She is perfect in her role there but she has no charm and no appeal. She is repellent from the very start. Then you have the animals that are so lovable, even the big monstrosity that flies and is supposed to be some kind of distorted and out of shape dragon. […]

14 sur 24 personnes ont trouvé le commentaire suivant utile
Par Jacques COULARDEAU le 11 avril 2010

Il est recommandé de se laisser enchanter par l'histoire car autrement elle semblera un peu simpliste. C'est une belle histoire de par les images et les couleurs et les animations et le dynamisme. Elles sont parfois un peu effrayantes mais la plupart du temps simplement charmante, à savoir qu'elles jettent un charme sur les spectateurs. C'est à ce niveau là un film réussi. Un beau film aussi du fait des acteurs qui jouent si bien leurs rôles. Le meilleur reste le Chapelier avec ses chapeaux, ses costumes et son visage tantôt de chien battu, tantôt de soleil levant. Il dépasse même Alice en quelque sorte. Les deux reines sont un peu simplistes, surtout la Reine Blanche, et la Reine Rouge est odieuse depuis le premier instant. Les animaux sont un peu magique, que ce soit le chat invisible, les chiens, les lapins, ou les monstres divers, même ce faux dragon de la fin qui a l'air si patibulaire même s'il a l'air le plus convaincant quand sa tête roule en bas des escaliers. Un tantinet morbide […]


No matter how spectacular this film is and its special effects are, the film itself is a remake of at least half a dozen story lines already famous and vastly imitated on all screens. Anne Rice brought the vampires out of their closet with Lestat de Lioncourt from Auvergne, France, and that has brought to life a myriad if not a host of vampires of all types, genres and sexes (definitely more than two). Then she dared make her vampires meet with her witches, the Mayfair family from Montpellier, France, and even beyond, and that brought some new episodes of great power and that has so far not been exploited in the cinema or on television, at least at that level. And in 2012 she started a new series with werewolves, mind you, Reuben Golding and many more. But in the meantime the BBC produced a phenomenal series with vampires, werewolves and ghosts living in the same house and trying to pass for humans, Being Human shot in Bristol, GB, 2008-2013, immediately remade in Montreal. So there is really nothing new under the sun, really nothing. […]


This is an absolute pastiche copied up from no matter how many films and books, you won’t be able to trace them all from Stephen King to Mary Shelly, to you know whom better than I.

But it is a festive big laughing competition against all basic beliefs of parents about the education of their darling children, especially when they, the parents, are at work and the children at home and the latter understood myriads of years ago how to by-pass the “security” on the TV and computer. They are able hours on top of hours to view all the nasty shows they can find and imagine.

For them parents science like technology are dirty words and unbearable subjects that have to be kept away from the children’s ears and from the dinner table, when there is a family dinner, once every blue moon. For them parents a science fair, festival, competition, fest or carnival only has one aim and goal: to learn how to be badder than bad and produce both Viagra and ecstasy. You children know the type of pills your parents or you parents are buying on the Internet. Is it from Amazon or from Alibaba? Maybe only from the corner store, well the chap that is standing ,in front of the corner store. How old is he by the way?

This farce is absolutely successful and in black and white, or something close, which is better than you could have imagine. Don’t you play with electricity, Benjamin Franklin would say. You may burn your fingers and roast your tonsils. When I say your tonsils you know what I mean.

Of course the film has no depth whatsoever and does not pretend to have any. The only point is that it is funny ah ah and nothing else. Enjoy it and play with death as if it were your nightmare friend in the science class of your dear high school. And do not forget the science teacher is necessarily a bomb maker, a heroin refiner, a mental pervert, a serial killer and eventually a religious fundamentalist.

Have a good day with Walt Disney


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