LA BOUM / LA BOUM 2
Before sounding in the evenings at the crucial moment of slow, Reality, composed by Vladimir Cosma and sung by Richard Sanderson, rocked Sophie Marceau’s first steps in the cinema in La Boum, by Claude Pinoteau. Pink overalls, a mob ‘, Poupette, high school life with Pénélope and Mathieu, existential crises – “I have nothing to wear !”- and the divorcing parents (Françoise and François, alias Brigitte Fossey and Claude Brasseur): Vic Beretton’s adventures were immediately successful when the film was released in 1980.
Two years later, the public found a heroine who had grown up in La Boum 2, and in the company of Pierre Cosso (on stage and in the city), this time to the rhythm of Your Eyes from the Cook da Books (always signed Cosma). A second opus in which Lambert Wilson appears and even very furtively Zabou Breitman (yes, yes!), And which offered Sophie Marceau the César for best female hope.
AN ELEPHANT IS A GREAT DECEPTION / WE WILL ALL GO INTO PARADISE
“Very agitated chronicle of the quarrels of certain men with certain women who are not necessarily theirs ”, according to its screenwriter Jean-Loup Dabadie, An elephant that deceives enormously is an ode to friendship. That shared by four quadras camped by Jean Rochefort (legendary Etienne Dorsay), Claude Brasseur (Daniel), Guy Bedos (Simon) and Victor Lanoux (Bouly).
From his tennis games to an outing in a bathrobe on the cornice of a Parisian building, through nervous breakdowns and giggles, all on an essential soundtrack by Vladimir Cosma, the pretty troupe of Un éléphant has marked the spirits before returning to We will all go to Heaven. A diptych to see and see again, and all the more so since the quartet went to paradise …
MY FATHER’S GLORY / MY MOTHER’S CASTLE
1990: Yves Robert surprises the public by unveiling on the big screen The Glory of my father and its sequel, The Castle of my mother, adaptation of the literary cycle Souvenirs d’enfance by Marcel Pagnol. Two shutters released just a few weeks apart, in which the filmmaker transports us to Provence, to discover the writer’s childhood.
A faithful and careful adaptation of the novels, this diptych is distinguished by its atmosphere that smells of the south, in contrast with the grief of the characters, the voice of the narrator Jean-Pierre Darras who recites the sentences of the book, and a sublime melancholy score composed by a certain Vladimir Cosma. Two films, to say the least, timeless.
THE BIG BLOND WITH A BLACK SHOE / THE RETURN OF THE BIG BLOND
An unforgettable musical theme (signed, we give it to you in thousand, Vladimir Cosma), a Guy Laroche dress with open back that has become legendary, the look of Mireille Darc, the discovery of the comic genius of a certain Jean Rochefort and a succession of hilarious gags … the Grand Blond saga is undoubtedly cult.
At the time unknown, Pierre Richard instantly acquired the status of clumsy favorite among French spectators thanks to his incarnation of the violinist king of blunderers François Perrin. When released in 1972 and 1974, both films broke box office records. Such success as the first installment, Silver Bear at the 23rd Berlin Film Festival, resulted in an American remake in 1985 called The Man in the Red Shoe, with Tom Hanks in the title role.
THE UNDERSIDED / UNDERGROUND ON HOLIDAYS
Released in 1980, Les Sous-doués immerses us in a class of students ready to do anything to get their baccalaureate… except to work! The public’s favorite for Daniel Auteuil who embodies the facetious lazy Bébel, Claude Zidi’s comedy wins the public’s favor thanks to its endearing cast and its deliciously schoolboy gags like that of the learning machine.
No wonder their vacation, filmed two years later, attracted the French in droves. A suite in which Guy Marchand sings Destinée, a hit which takes up the score of Joe Dassin’s L’Eté Indien backwards, and composed with the help of… Vladimir Cosma, of course!
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