Morricone Fans
莫里康内爱好者
EN Home
CN Home
Chronology
Music Overview
Film Overview
VIP Apply
VIP Login
Film Enjoy
Study
Music Sheet
Maestro
Payment
Old EN
Old CN
Personal Page
Resources Delivey
Newest Page
SiteMap
Notice
Lyrics
RSS
Guestbook
Contact
About Us
TOP 120 Music
Morricone Resources Library
Global free resources
Morricone ringtones
Mobile Website
ENG Community
---------------------------
------------------------
English-->engmaster-000-->engmaster-022-3 Same CN
 
Review my favorite western music of last 30 years-3
Sous le ciel de Paris/Under the Paris Sky
 
No.
Explanation
Listen
Right click to download Mp3
001
Sung by Edith Piaf
002
Sung by Yves Montand
003
Played by accordion
 
First see some video about the "Sous le ciel de Paris" (All video are saved in our web site):
001- 3'24"
002-Three tenors singing "Sous le ciel de Paris" 2'19"
003- Edith Piaf 2'51"
004- Yves Montand 2'54"
005 - Very magnificent Bayang (accordion) 2'33"
006-A street little band Ooh La La 3'51"
007- Paris in painting 3'13"
008 - More face of Paris 9'32"
This song is a theme of the French movie "Sous le ciel de Paris/Under the Paris Sky". Below are its information:
A brief of the movie (IMDB)
Sous le ciel de Paris/La Seine coule à Paris (1951)

Director: Julien Duvivier

Writers: Julien Duvivier
René Lefèvre
Henri Jeanson
Produced by Arys Nissotti
Pierre O'Connell
Original Music by Jean Wiener

Runtime:114 min
Country:France
Language:French
Color:Black and White
Aspect Ratio:1.37 : 1 more
Sound Mix:Mono (Western Electric Sound System)

Also Known As (AKA)
Unter dem Himmel von Paris Austria / West Germany
Pariisin taivaan alla Finland
Seine coule à Paris, La France (working title)
Sotto il cielo di Parigi Italy
Sous le ciel de Paris coule la Seine France
Under Paris himmel Sweden
Under the Paris Sky USA

-------------------------------------------------------
 
Cast:

Brigitte Auber .... Denise Lambert

Jean Brochard .... Jules Hermenault

René Blancard .... Le professeur Bertelin (as Rene Blancard)

Paul Frankeur .... Milou

Raymond Hermantier .... Mathias, l'artiste

Daniel Ivernel .... Georges Forestier

Pierre Destailles .... Michel

Jacques Clancy .... Armand Mestre (as Jacques Clancy de la Comédi

Christiane Lénier .... Marie-Thérèse (as Christiane Lenier)

Marie-France .... La petite Colette Malingret

Fran?ois Périer .... Récitant (voice) (as Fran?ois Perier)

-------------------------------------------------------
Plot: Sous le Ciel de Paris was the second of director Julien Duvivier's 1950 French films. The story follows the grim and bloody path trod by an unknown psycho killer. Duvivier cannily plays the film's melodrama against the glamorous backdrops of fin de siecle Paris, concentrating on a handful of people whose lives are profoundly affected, directly and indirectly, by the fugitive murder. The best vignettes feature elderly character actress Sylvie as a spinster devoted to her houseful of cats, and Brigitte Auber as a wide-eyed country lass.

------------------------------------------
WIKIPEDIA (French)
Ce qui suit dévoile des moments clés de l’intrigue.
Sous le ciel de Paris, durant une journée, nous assistons aux grands et petits évènements qui se produisent dans la vie de quelques personnes dont les destins vont s’interférer. Ainsi, une pauvre vieille demoiselle, après avoir cherché, en vain, toute la journée de quoi nourrir ses chats, re?oit la récompense inespérée d’une mère qui, grace à elle, a retrouvé le soir sa petite fille égarée depuis le matin. Une jeune fille, rêvant au grand amour, refuse celui de son ami d’enfance pour finir sous les coups de couteau d’un sculpteur sadique.
Ce dernier est abattu par un policier qui a accidentellement blessé un ouvrier qui rentrait chez lui après l'heureuse issue d'un mouvement de grève. Hospitalisé d'urgence, le blessé est sauvé grace à la première opération à c?ur ouvert pratiquée par un jeune chirurgien qui vient d'être recalé à son examen d'internat… Sous le ciel de Paris, tout finit comme le dit la chanson :

Mais le ciel de Paris
N'est pas longtemps cruel
Pour se faire pardonner
Il offre un arc-en-ciel…

Commentaire
Le film foisonne de tellement d’idées et d’innovations que, paradoxalement, cela semble l’avoir desservi. à vouloir montrer les multiples facettes de la capitale en recourant à une multitude d’expressions filmiques, Julien Duvivier provoque un flot trop frénétique d’images. Les commentaires écrits par Henri Jeanson et dits par Fran?ois Perrier en voix off servent de fil rouge en même temps que l'on entend tourner la roue du Destin avec le bruit de celui de la roulette des jeux de hasard. Ces chroniques urbaines, tant?t poétiques, humoristiques, lyriques, gouailleuses et acerbes tentent, vainement, de lier les multiples aspects de la Ville lumière. Duvivier va du reportage artistique (Christian Dior, la haute couture, la mode) jusqu’au documentaire social et médical (l’occupation de l’usine par les ouvriers, la vie à l’H?tel-Dieu) en passant par la narration fictive. En même temps, il utilise différents styles esthétiques : images lumineuses pour les scènes au Palais de Chaillot, aux Tuileries, sur la Seine et ses quais, grisaille pour les séquences ouvrières, clair-obscur pour les séquences nocturnes. Le spectateur est abasourdi par la virtuosité et l’avant-gardisme de Duvivier qui a tout inventé bien avant la Nouvelle Vague. Le film se déroule presque totalement en extérieurs. Caméra au poing, 26 ans avant Claude Lelouch (C'était un rendez-vous, 1976), le réalisateur déboule à toute vitesse en voiture écartant devant elle la circulation (fluide à l'époque) des rues pour rallier l’h?pital en temps record. On s’essouffle à courir d’un quartier à l’autre : du Champ-de-Mars en passant par Chaillot, Mouffetard, Le Marais, les Champs-élysées, le village (disparu) de Bercy, Ménilmontant (hommage à Charles Trenet), les Invalides, Montmartre. Le spectateur ne sait plus où donner de la tête et a des difficultés à adhérer à chacun des sketches qui auraient pu faire l’objet d’un film spécifique. Mademoiselle Perrier et ses chats : Sylvie, incarnation de la solitude en pleine ville, aussi grande que la Tour Eiffel, aussi minuscule qu’une fourmi sur l’immense esplanade des Invalides. Denise, provinciale na?ve et romantique éperdue, subjuguée et finalement foudroyée par la fulgurance des beautés et des dangers de la Ville (Brigitte Auber). La fillette fugueuse et son petit copain hableur, vrai titi, copie conforme de Gavroche, partent à l’aventure sur la Seine suivant la thématique du Bateau ivre d’Arthur Rimbaud (poète qu'affectionnait Duvivier). Les deux gamins ? voient ?, éblouis, avec leurs yeux innocents, les contrées invisibles et mystérieuses qui bordent le fleuve. Le c?ur de l’ouvrier, symbole du c?ur populaire de Paris (qui, selon Duvivier, doit survivre co?te que co?te) est amoureusement ramené à la vie par l’un des anges-gardiens de la capitale (le médecin Daniel Ivernel). La Seine, artère palpitante du corps de la Ville, draine vie (les enfants en canot) et mort (le cadavre dérivant). En même temps, Duvivier, documentariste et témoin de son temps, nous ramène à nos préoccupations écologistes actuelles : en 1950, les Parisiens se baignent et pêchent dans la Seine. On plonge depuis les quais du Louvre, on pique-nique sur les quais rive gauche (le bistrotier Paul Frankeur et sa famille) où Duvivier filme sa séquence d’anthologie : le chanteur Jean Bretonnière entonne avec ferveur, pour la postérité, pour la résistance du peuple de Paris, l’immortelle chanson Sous le ciel de Paris (juste avant l’apparition d’un déploiement répressif des forces de l’ordre, frais stigmates de l’occupation allemande). On comprend alors que l’autre chanson du film est de trop : C?ur de Paris, interprétée de fa?on guindée par André Claveau, arrive comme un cheveu sur la soupe en épilogue du film (et elle sera rapidement oubliée). Tout cela vient expliquer que c’est la chanson éponyme qui passera à la postérité et non le film sursaturé d’un réalisateur majeur du cinéma.
About the director Julien Duvivier
Julien Duvuvier
Julien Duvuvier (left) on the set of Anna Karenina
 
 
Whilst unquestionably one of the most important film-makers in the history of French cinema, Julien Duvivier has never achieved the status accorded to other great directors of his country, such as his contemporaries Jean Renoir, Marce Carné and René Clair. The main reason for this was perhaps Duvivier’s versatility, his ability and willingness to tackle a wide range of subjects of varying degrees of merit. In between making films of sublime artistic merit he would occupy himsef with lesser works, often on commission, to supply the need for popular films. Paradoxically, it would often be his less impressive films that would prove to be more successful commercially than his greater films. Duvivier’s film making career spanned nearly half a century and comprises 67 films. This includes over a score of films which are now regarded as masterpieces, and it is on the quality of these films that the director should be judged. Many other film-makers, including Jean Renoir and Igmar Bergman, regarded him as a man of rare talent, not just a master technician, but a great poet as well.

Julien Duvivier was born in Lille, France, on 8 October 1896. He started out as a stage actor in Paris in 1915. He worked at the Odéon under the direction of the reactionary André Antoine, whose realist approach left a lasting impression on the young Duvivier. In 1918, he started working for cinema, as a part-time screenwriter and assistant director to such masters as Louis Feuillade and Marcel L'Herbier. His first film, Haceldama ou le prix du sang (1919), was not a worthy effort and has been described as one of the least promising debuts in cinematic history.

During the 1920s, undeterred by this first failure, Duvivier continued making films. His first notable success was in 1925, with his poignant adaptation of Jules Renard’s Poil de Carotte (which he later remade in 1932, one of his favourite works). This resulted in an invitation from from producers Marcel Vandal and Charles Delac to work for their film production company, Film d’Art. Here, Duvivier stayed for nine years, perfecting his craft as a film-maker and learning the value of team work.

In was in the 1930s, with the arrival of sound, that Duvivier’s career as a film director suddenly took off. By the end of the decade he had earned an international reputation as one of the most important French film-makers of his generation. His successes included such works as David Golder (1930), Poil de Carotte (1932), La Tête d'un homme (1933), La Bandera (1935), Un Carnet du Bal (1935), La Belle équipe (1936) and Pépé le Moko (1937).

Duvivier’s first major success was David Golder (1930), which starred acting heavyweight Harry Baur. That actor would subsequently work with Duvivier on another great film, La Tête d’un homme, playing Inspector Maigret in one of the earliest screen adaptations of a Georges Simenon novel. Baur also appears in Un Carnet du Bal (1935), Duvier’s first and most successful attempt at a “films à sketches”.

Another legendary actor who would achieve prominence thanks to Duvivier was Jean Gabin, who starred in three of the defining French films of the 1930s: La Bandera (1935), La Belle équipe (1936) and Pépé le Moko (1937). What connects these films, in addition to Gabin’s remarkable performance, is a distinctive style of French cinema, termed poetic realism, which was very much in vogue in this period. Duvivier (along with Marcel Carné and Jean Grémillion) was one of the few directors to master poetic realism and Pépé-le-Moko is often cited as one of the finest examples of this style of French cinema.

It was the international success of Pépé-le-Moko which earned Duvivier an invitation from MGM in 1938 to direct a lavish Hollywood musical, The Great Waltz, a biography of the composer Johann Strauss. Duvivier returned to America during World War Two where he made a number of big-budget films, most notably Tales of Manhattan (1942) and Flesh and Fantasy (1943).

After the war, Duvivier returned to his native France, but had great difficulty regaining his former popularity, having been displaced by those directors who had remained in France during the German occupation. His 1946 film Panique, a grim depiction of human greed and hysteria, proved to be a commercial failure and was viciously written off by the critics as a return to poetic realism of the 1930s. Today, this is regarded as an unequivocal masterpiece, one of the greatest films made during the 1940s.

In the late 1940s and 1950s, Duvivier’s more serious films show a marked change from the poetic realism of the 1930s to a far darker kind of realism which explored the worst qualities of human nature. Examples of this are to be found in Sous le ciel de Paris (1951) and Voici le temps des assassins (1956). Meanwhile, he was making popular comedies such as Le Petit monde de Don camillo (1951), the first in a series of films starring the popular actor Fernandel. This film won him a prize at the Venice Film Festival in 1951.

Duvivier’s last great film was Pot-Bouille (1957), which combines the grim realism of Zola’s novel with popular farce. Le Diable et les dix commandements (1962) is less impressive but shows Duvivier’s flair for comedy and, thanks to its all-star cast, proved to be a popular success. On 30 October 1967, shortly after completing his final film, Diaboliquement v?tre, Julien Duvivier died tragically in a car accident, aged 71. (here)

 
About the composer Jean Wiener

Biography


Date of Birth 19 March 1896, Paris, France

Date of Death 8 June 1982, Paris, France

French composer Jean Wiener penned the scores for theatrical and music hall productions and numerous films. He also composed orchestral works such as his Concerto for Accordion and Orchestra. In film, he has worked with such directors as Renoir, Becker, Duvivier, and Bresson. Wiener's daughter, Elisabeth, became an actress.(here)

Edith Piaf (1915 - 1963)
Overview
Date of Birth:19 December 1915, Paris, France
Date of Death:10 October 1963, Plascassier, Alpes-Maritimes, France
Mini Biography

When one thinks of Edith Piaf, one thinks of love, sorrow and music. One did not breathe without the other two. Born in Paris practically on the streets on December 19, 1915, she struggled from day one, the daughter of street performers. The mother, a singer, eventually abandoned both Edith and her father for a solo career. Piaf spent her youth entertaining passers-by, receiving little formal education in the process. She often accompanied her father's acrobat street act with her singing and at various times was forced to live with various relatives, in alleys or in cheap hotels. An aborted love affair left her with a baby girl at age 17, but little Marcelle died of meningitis at 2 years old. Devastated, Piaf returned to the streets she knew, now performing solo.

Her fortunes finally changed when an impresario, Louis Leplee, mesmerized by what he heard, offered the starving but talented urchin a contract. He alone was responsible for taking her off the streets at age 20 and changing her name from Edith Gassion to "La Mome Piaf" (or "Kid Sparrow"). Piaf grew in status entertaining in elegant cafes and cabarets and became a singing sensation amid the chic French society with her throbbing vocals and raw, emotional power. From 1936 Piaf recorded many albums and eventually became one of the highest paid stars in the world. She was first embroiled in scandal when her mentor, Leplee, was murdered and she was held for questioning. She managed to survive the messy affair and carry on while her ever-growing society circle now began to include such elite members as writer/director Jean Cocteau. Piaf also took to writing and composing around this time; one of the over 80 songs she wrote included her signature standard, "La vie en rose." Although she appeared sporadically in films, it was live audiences that sustained her.

Piaf later toured the United States to branch out internationally. America was slow to accept the melodramatic Piaf but she persevered and eventually won legions of fans. She also continued a series of affairs with the likes of actor Paul Meurisse, composer Henry Contet and, most notably, boxing champion Marcel Cerdan. The latter's death in a 1949 plane crash left Piaf devastated and many claim this was the beginning of her downfall. Piaf had a life-long habit of involving herself heart and soul in the launching of her lovers' careers. Over the years this would include Yves Montand, Charles Aznavour and Eddie Constantine. Two serious car accidents suffered in 1951 led to a morphine and alcohol addiction that left Piaf's life skidding out of control despite a potentially happy marriage in 1952 to actor Jacques Pills. Though slowly crippled by severe arthritis, a series of spectacular comebacks in concert and recordings would follow over the years but her health would slowly waste her away. Her last appearance was at the Paris Olympia, racked and hunched over with pain and barely able to stand. Her last recorded song was "L'homme de Berlin" in 1963, the year of her death. She died in poverty on the same day as her friend Cocteau and at the age of 47, the same age as her equally tortured American counterpart, Judy Garland. Piaf left many debts for her second husband (and protege Theo Sarapo, who was twenty years younger (he died in 1970, at age 34). Piaf's funeral was massive yet, because of her lifestyle, was forbidden a Mass. It was the only time since WWII that Parisian traffic was completely stopped. A museum was dedicated in her honor. Piaf remains the epitome of the French singer in heart, soul, style and passion; for many Piaf IS France.(IMDB)

-------------------------------------------------------

La rose de France

A swirling, impressionistic portrait of an artist who regretted nothing, writer-director Olivier Dahan's La Vie en Rose stars Marion Cotillard in a blazing performance as the legendary French icon Edith Piaf. From the mean streets of the Belleville district of Paris to the dazzling limelight of New York's most famous concert halls, Piaf's life was a constant battle to sing and survive, to live and love. Raised in her grandmother's brothel, Piaf was discovered in 1935 by nightclub owner Louis Leplee (Gerard Depardieu), who persuaded her to sing despite her extreme nervousness. Piaf became one of France's immortal icons, her voice one of the indelible signatures of the 20th Century.

Edith Piaf Basic Facts:
Edith Piaf was born Edith Giovanna Gassion on December 19, 1915 in Paris, France. She died on either October 10 or October 11, 1963 (the date is frequently disputed) in Cannes, France. Edith Piaf stood at only 4'8". She was married twice and had one child who died in infancy.
Edith Piaf's Tragic Early Life:
Legend has it that Edith Piaf was born on the streets of Paris on a cold winter night to a 17-year-old mother who was a café singer and a father who was a street acrobat. Her mother soon abandoned her, and she was sent to live with her paternal grandmother, who was the madam of a brothel. She was completely blind from ages 3-7, and she claimed to have been miraculously cured when the prostitutes prayed for her on a religious pilgrimage.
Edith Piaf's Teen Years:
In 1929, Edith Piaf left the brothel and joined her father as a street performer. At age 16, Edith Piaf fell in love with a young man named Louis Dupont and bore his child. Sadly, their daughter, named Marcelle, died before the age of two of meningitis.
Edith Piaf Gets Discovered:
Louis Leplee, the owner of a popular Paris nightclub, discovered Piaf in 1935 and invited her to perform in his club. It was Leplee who gave Edith her nickname, "La M?me Piaf" (The Little Sparrow), in reference to her height. She adopted this as her stage name. Years of touring brought Piaf moderate financial success, but great popularity.
Edith Piaf During World War II:
During the World War II German occupations of Paris, Piaf cleverly won the hearts of the high-ranking Nazis, thus giving her access to French prisoners of war, many of whom she helped escape.
Worldwide Success and More Tragedy:
After WWII ended, Edith Piaf began to tour the world, achieving international fame and popularity. In 1951, Piaf was in a car accident, and her injuries resulted in a lifelong addiction to morphine.
Edith Piaf's Many Loves:
Edith Piaf's true love was boxer Marcel Cerdan, though they never married. Cerdan died in 1949. Piaf subsequently married singer Jacques Pills in 1952. They divorced in 1956. In 1962, Piaf married singer/actor Theo Sarapo, who was twenty years her junior. They stayed married until Piaf's death. Along the way, Piaf had many other lovers.
Edith Piaf's Death:
Piaf died of cancer in 1963, near Cannes. The date is disputed; it is said that she actually passed on October 10, but her official date of death is October 11. Her husband, Theo Sarapo, was with her at the time. Piaf is buried in Pere Lachaise Cemetery in Paris.
Edith Piaf's Most Famous Songs:
Edith Piaf is considered by most to be the greatest French singer in history. Her best-known songs are "La Vie en Rose," "Hymne à L'Amour," "Les Trois Cloches" and "Non, Je Ne Regrette Rien."(here)
 
-----------------------------------------------------------------
A resource of the songs by Verycd
001
Various.Artists.-.[Chanson.International.Best(2002)].Special.(MP3).rar
141.4M
002
Various.Artists.-.[Sous.le.Ciel.de.Paris].Special.(MP3).rar
44.3M
003
Various.Artists.-.[Sous.le.Ciel.de.Paris.II].Special.(MP3).rar
29.0M
 
 
 
Previous page      Next page
Some important page in the old area
The old chronology edited in 2009
The Films
Music Audition
A special column of China Morricone Fans Association
A column of general music counselor of Morriunion
A column of Morricone's music sung by songsters
Morricone's music played by the famous artists
All updated webpage for 10 years
Free resources in the world
About"Chi Mai"
A study on Morricone 2002-2010 six concerts in Europe,USA and Asia
The formal 20 sheets music of "The legend of 1900"
A exchange page for friends of requesting score music
Friends who are practicing piano
The webmaster's talk
Morricone news in China
About mobile WAP site
Morricone's MIDI music and download of its ring for your mobile
The important web sites of Morricone's work in the world
BBC-HVF A interview to Morricone
Ennio Morricone 2009 Beijing concert
Ennio Morricone 2010 Shanghai EXPO concert
Allonsanfan research
La Califfa research
Death rides a horse research
Metello research
Morricone's 100 famous music
Visiting Imola again after 13 years
Sacco e Vanzetti research
Philatelic exploration round the world
Philatelic matters for transfer
Site Map
Review my favorite western music of last 30 years
Look back the past by way of the satllite map
About Us
Add to Google
eXTReMe Tracker
Mobile Site (CN-EN)
Home Page (ENG)
Philately (ENG)
Dual-use Guestbook for PC and mobile phone
put on record: 苏ICP备11039856号 Start from August 8,2003 All right reserved
Contact Us  qilingren@hotmail.com   webmaster@morricone.cn    
All pages are only for visitor's personal enjoy and study